addison - Phillips Academy

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ADDISON
Addison Gallery of American Art
2011 ANNUAL REPORT
PHILLIPS ACADEMY ANDOVER, MASSACHUSETTS
BOARD OF GOVERNORS
AT A GLANCE
Sidney R. Knafel ’48
Chair
July 2010–June 2011
William C. Agee ’55
Cynthia Eaton Bing ’61
Andrew M. Chin ’00
Carroll Dunham ’67
Harry Elson II ’83
Elizabeth Enders ’57
Amy Falls ’82
Leslie Fahrenkopf Foley
Andrea Feldman Falcione ’83
Kelly A. Greene
Elizabeth Evans Hunt ’74
Keith W. Kauppila
R. Crosby Kemper ’45
Mollie Lupe Lasater ’56
Carol Sutton Lewis
Scott Mead ’73
David L. Older ’87
Jonathan B. Otto ’75
Bernard G. Palitz ’42
Richard J. Phelps ’46
J. Mark Rudkin ’47
Michael J. Scharf ’60
Michael Schmertzler ’70
Elizabeth A. Senior ’76
Stephen C. Sherrill ’71
Kim D. Sichel
Frank P. Stella ’54
Olympia Stone ’87
Argie Tang
Ruth Raser Timbrell ’71
John C.L. Van Doren ’80
Shirley A. Veenema
David J. Winton II ’71
Mary Kemper Wolf
EXHIBITIONS
Traveling exhibitions organized .......................................2
PERMANENT COLLECTION
Number of works .................................................... 16,879
New acquisitions (gifts) ................................................ 27
New acquisitions (purchases) ........................................ 59
Works lent to other institutions...................................... 23
ATTENDANCE
General attendance.................................................24,798
Students served .......................................................6,551
Teachers served .......................................................... 383
FRIENDS OF THE ADDISON
Support for the annual fund .............................. $1,277,228
(new pledges and gifts for unrestricted use, exhibitions,
and acquisitions)
Photo credits, cover and this page: Jeff Goldberg/Esto
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LETTER FROM THE DIRECTOR
September, 2011
Dear Friends,
Thomas Cochran, founder of the Addison Gallery of American Art, did indeed
have a unique vision 80 years ago when the museum opened. No high
school had an art museum with such an extraordinary collection, ambitious
acquisitions program, or important exhibition plan. And none has today.
Our successful renovation and addition will carry us many years into the
future, but as I enjoyed seeing thousands of people back in the museum,
I often reflected on the Addison’s past. The education of young people
using the greatest examples of American art is still central to our work.
Cochran was a visionary in another respect. Many museums affiliated with schools are hidden in the heart
of the campus, difficult to see and to find. Cochran and the great architect Charles Platt deliberately sited
the Addison front and center, facing the major road passing through town. They thus established that the
Addison was not only for Phillips Academy but for the broader world. And this relationship between the
Addison and the world also is central to our work. In the past few years, our shows have gone to 40 cities
in America and in Europe. Our show Whistler’s Bridge: Battersea Bridge in the Art of Whistler will be the
first James Abbott McNeill Whistler show to travel to Japan. Millions of people have learned about
American art through the Addison’s exhibitions.
This year was no exception. Thousands visited in the fall for an emotional reunion with the treasures
from the permanent collection. Sheila Hicks: 50 Years followed, a visually buoyant traveling exhibition
examining the work of an exceptional artist. The retrospective at the Addison—the first for Hicks—recognized
her remarkable lifetime achievement and the role that she played in redefining the boundaries of tapestry
and sculpture, art and craft. Like the Hicks show, John La Farge’s Second Paradise: Voyages in the South
Seas, 1890–1891 surprised and provoked. Many in New England knew La Farge through his murals and
stained glass windows in Trinity Church in Boston. Few knew of his fascination with the South Seas and its
importance in his career. The lush tropical images were sumptuously beautiful, infusing the galleries with
warmth and color during a winter that buried New England under a thick blanket of snow.
As I write, we are just days away from our November 3 gala to celebrate the Addison’s 80th birthday. The
replacement of the Addison’s glass roof is now complete, and I never thought it was possible that a new roof
would look so beautiful. It is very elegant indeed. With the completion of the project, every infrastructure
need of the Addison has been addressed, and I think there are few museums in the country that can say this.
We have just reopened, and I look forward to welcoming you back to this very special place.
Very truly yours,
Brian T. Allen
The Mary Stripp and R. Crosby Kemper Director
80
TH
Anniversary
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LETTER FROM THE CHAIRMAN
September, 2011
Dear Friends,
As the Addison Gallery of American Art celebrates its 80th birthday, we can
look back on this most recent year of major accomplishments, highlighted
by the opening of a renovated and expanded museum in the fall of 2010.
Significant strides have been made toward the Addison’s capital campaign
goals as well. Having successfully completed its $22 million building
campaign, the Addison turned its attention this year to reaching its
$8 million endowment fundraising goal. With $5 million left to raise
toward this goal, Charter Trustee Stephen Sherrill ’71 and his wife,
Kitty (P’05, ’07, ’10), stepped forward with a very generous proposal: a $1.5 million one-to-one matching
challenge to significantly advance the Addison’s endowment campaign. All new gifts or pledges of $25,000
and above toward the Addison’s endowment will qualify for the Sherrill Challenge. The Addison must raise
the entire $1.5 million by June 30, 2012, to qualify for the Sherrills’ gift. Once the Sherrill Challenge has
been met, we will be within $2 million of our goal.
The Addison is fortunate to have a strong partner in this endeavor with the establishment of a new
Development Committee under the energetic and focused leadership of Michael Schmertzler ’70. My warm
thanks to all who have responded to our call to join us on the committee: Drew Chin ’00, Harry Elson ’83,
Leslie Fahrenkopf Foley, Kelly Greene, Betsy Hunt ’74, Steven Kunian ’56, Katie Leede ’81, David Older ’87,
and Kitty and Stephen Sherrill.
Just as essential as the endowment to the long-term vitality of the museum is the Addison’s annual giving
program. This year, the Friends of the Addison supported the museum at record levels, contributing a total
of $756,000 for unrestricted gifts and exhibitions and an additional $520,000 to help us add to our
collection. Every gift is truly appreciated.
In closing, I would like to thank Thomas Foley ’71, Elizabeth Senior ’76, and Argie Tang, outgoing members
of our Board of Governors, for their years of service, and to welcome our newest members—Amy Falls ’82,
Leslie Fahrenkopf Foley, and Scott Mead ’73. Their commitment of time, effort, and resources—and
yours—is truly appreciated.
Sincerely yours,
Sidney R. Knafel
Chair, Board of Governors, Addison Gallery of American Art
80
Anniversary
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The A DDISO N at 80
Established in 1931 by visionary philanthropist Thomas Cochran, a member of Phillips
Academy’s Class of 1890, the Addison Gallery of American Art is home to one of the most
comprehensive collections of American art in the world. Now numbering nearly 17,000
objects, the collection spans the 18th century to the present and includes iconic works by
long-established masters such as Winslow Homer, John Singleton Copley, and Jackson
Pollock, as well as significant new work by contemporary artists, including Terry Winters,
Kara Walker, and Mark Bradford.
This collection is the cornerstone of a vital and adventurous exhibitions program featuring
major traveling shows as well as permanent collection installations. The Addison’s long and
often pioneering history has earned the museum critical acclaim, respect from the scholarly
community, and an engaged and enthusiastic audience of museum-goers from the Boston
area and well beyond.
The only museum of its kind on a secondary school campus, the Addison embraces a public
mission that epitomizes Phillips Academy’s spirit of community engagement, with outreach
efforts that benefit diverse audiences from area public schools. The Museum Learning Center
in the new Sidney R. Knafel Wing offers a flexible classroom and exhibition space that makes
virtually the entire collection accessible for school groups, public programs, and scholars.
Addison Gallery and Stone Chapel, Addison opening day, May 17, 1931
EXHIBITIONS: THE ADDISON AT 80
When the Addison Gallery of American
Art opened its doors 80 years ago, its
walls were hung with a remarkable collection of
the very best American art from the late 18th
through the early 20th centuries. In the intervening
years, that exemplary collection has grown from
400 to nearly 17,000 great works, ranging in date
from historic to contemporary, and in media from
painting to works on paper, prints, sculpture, and
photography.
From the beginning, an ambitious exhibition
program was launched, designed to meet the
museum’s mission to educate visitors and students
alike, to engage and entertain the museum’s
various audiences, and to present important
and informative exhibitions both from its own
collection and borrowed from others. Looking back
over 80 years of innovative programming, the
Addison can take pride in many accomplishments
and contributions, among them the first U.S.
exhibition of the work of Josef Albers (1935), the
first retrospective of the work of John Sloan (1938),
and the first museum exhibition of the work of an
abstract expressionist, when Hans Hoffman: Search
for the Real (1948) opened at the Addison.
In subsequent years the Addison has continued to
organize significant and adventurous exhibitions,
both historic and contemporary. Among the
more recent are: Sol LeWitt: Twenty-Five Years
of Wall Drawings, 1968–1993 (1993); Arthur
Dove: A Retrospective (1997); To Conserve a Legacy:
American Art from Historically Black Colleges and
Universities (1999); Trisha Brown: Dance and Art in
Dialogue, 1961–2001 (2001); Miracle in the Scrap
Heap: the Sculpture of Richard Stankiewicz (2003);
William Wegman: Funney/Strange (2006); and
Coming of Age: American Art 1850s–1950s
(2008–10), the Addison’s treasure show that
traveled nationally and internationally. Except for
the LeWitt, all of these exhibitions traveled widely.
The Addison also has been the only northeast venue
for a number of important traveling exhibitions
organized by other institutions, including Roy
DeCarava: A Retrospective (1996); Alice Neel
(2000), and Birth of the Cool: California Art,
Design, and Culture at Midcentury (2008).
This last year has been no less illustrious. Opening
in September 2010 and filling all the galleries in
celebration of the museum’s two-year renovation
and expansion project, Inside, Outside, Upstairs,
Downstairs: The Addison Anew showcased the
remarkable range and quality of the collection as
it has grown in the last 80 years. The Wall Street
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Journal called the installation “wide ranging,
sometimes surprising, often witty.” Boston Globe
art critic Sebastian Smee proclaimed it “one
of the most brilliant thematic displays I have ever
come across.”
In November 2010, the long-anticipated
retrospective Sheila Hicks: 50 Years opened to
acclaim at the Addison. American-born and
Paris-based, Sheila Hicks is a pioneering figure
working with color and fiber. After the Hicks
exhibition closed at the Addison at the end of
February 2011, this “superb retrospective,” as
Sebastian Smee dubbed it, traveled to the Institute
of Contemporary Art in Philadelphia, where it was
shown from March until August 2011. It opened at
the Mint Museum of Craft + Design in Charlotte,
North Carolina, in October 2011. The exhibition
has been lauded in numerous recent national
publications, including the New York Times,
Metropolis Magazine, American Craft, Wallpaper,
Artforum, and Art in America.
The final exhibition of the 2010–11 season was
the dazzling John La Farge’s Second Paradise:
Voyages in the South Seas, 1890–1891. Organized by
Yale University Art Gallery and curated by Elisabeth
Hodermarksy, Yale’s Sutphin Family Associate
Curator of Prints, Drawings, and Photographs, the
exhibition documented the 13-month trip to the
South Seas that La Farge took with Henry Adams
through watercolors, paintings, including the
Addison’s Sketch of Maua, Apia, One of Our Boat
Crew (1891), documentary photographs, a stained
glass window, and rare and precious sketchbooks
that La Farge carried with him during his travels.
Photo credits:
Facing page: Gil Talbot This page: Jeff Goldberg/Esto
80
TH
Anniversary
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EXHIBITIONS 2010–2011
Inside, Outside, Upstairs, Downstairs:
The Addison Anew
Sheila Hicks: 50 Years
5 November 2010–27 February 2011
7 September 2010–27 March 2011
The Addison celebrated its much-anticipated
reopening with a comprehensive exhibition of more
than 300 historical and contemporary objects chosen
from the museum’s collection. World-renowned
treasures, old favorites, less familiar works, and
newly acquired pieces were grouped thematically to
illustrate the strengths of the Addison’s collection
and to create engaging dialogues among works
across media and time.
Inside, Outside, Upstairs, Downstairs: The Addison
Anew paid tribute to the historic architecture of
this treasured museum, highlighted the Addison’s
extensive and illustrious collection, and introduced
the elegant new facilities that already are enabling
the museum to expand its services to varied
audiences, from students and teachers to visitors
and patrons.
This exhibition was generously supported by the
Sidney R. Knafel Fund.
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Sheila Hicks: 50 Years, curated by independent
scholar Joan Simon and Addison curator Susan Faxon,
was the first museum retrospective devoted to this
exceptional American-born, Paris-based artist.
Sheila Hicks, a pioneering figure noted for structures
that are built of color and fiber, deliberately pushes
the limits of generally accepted contexts and
frameworks. Her work ranges from monumental
sculptures to miniature weavings, from temporary
installations to permanent public commissions,
and from hand-worked constructions to designs
for industrial production on five continents. Hicks
embraces yet reinvents tradition, successfully
navigating the terrain between art, design, and
architecture.
Generous support for this exhibition and accompanying
publication was provided by the J. Mark Rudkin Charitable
Foundation, The Coby Foundation, Saundra B. Lane, The
Poss Family Foundation, Nancy B. Tieken, Able Trust, Target
Corporation, The Friends of Fiber Arts International, Dirck
and Lee Born, and several anonymous donors.
EXHIBITIONS 2011–2012
Fall 2011
80 @ 80
Clearstory Squares and Unitych Variations:
Paintings by Christopher C. Cook
Fractured Narratives: Works by Lorna Bieber
RFK Funeral Train Rediscovered:
Photographs by Paul Fusco
Some Assembly Required
The Civil War: Unfolding Dialogues
John La Farge’s Second Paradise:
Voyages in the South Seas, 1890–1891
22 January–27 March 2011
In 1890, John La Farge and his close friend, the
historian Henry Adams, embarked on a journey to
the islands of the South Pacific—Hawaii, Samoa,
Tahiti, Raratonga, Fiji, Australia, Java, Singapore,
and Ceylon—a journey that would keep them away
from their homes for well over a year. John La
Farge’s Second Paradise: Voyages in the South
Seas, 1890–1891 showcased the most important
La Farge oils, watercolors, and sketches from that
trip—some executed on site, others upon La Farge’s
return to his home studio. The exhibition featured
12 previously unknown sketchbooks filled with
drawings of people and landscapes, as well as
copious notes on culture and language, providing
new insight into this period in La Farge’s career.
Organized by the Yale University Art Gallery, John La Farge’s
Second Paradise: Voyages in the South Seas, 1890–1891
was made possible by a grant from the Terra Foundation
for American Art; the generous support of Yale alumni
Katherine D. and Stephen C. Sherrill, B.A. 1975 (Phillips
Academy Class of 1971); Denise Bouché Fitch in memory
of George Hopper Fitch, B.A. 1932; Mr. and Mrs. Charles P.
Sutphin, B.A. 1981; and Mr. and Mrs. James E. Duffy, B.S.
1951, with additional support provided by an endowment
created with a challenge grant from the National
Endowment for the Arts. The Addison presentation of this
exhibition was generously funded by the Bernard and
Louise Palitz Exhibitions Fund.
Winter 2012
John Marin: Modernism at Midcentury
Land, Sea, and Sky: Contemporary Art in Maine
Open Windows: Keltie Ferris, Jackie Saccoccio,
Billy Sullivan, and Alexi Worth
Spring 2012
Making a Presence: F. Holland Day in Artistic
Photography
In Character: Artists’ Role Play in Photography
and Video
Life Lines: The Art of Elizabeth Enders
Lines of Action: Selections from the Collection
John Marin, Movement: Seas After Hurricane Red, Green
and White, Figure in Blue, Maine, 1947, oil on canvas,
promised gift of Norma B. Marin, Addison Gallery of
American Art, Phillips Academy, Andover, MA, © Estate of
John Marin / Artists Rights Society (ARS), New York
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THE EDWARD E. ELSON ARTIST-IN-RESIDENCE PROGRAM
Tristan Perich: 2010–2011
Edward E. Elson Artist-in-Residence
multiple disciplines and interests, which made him
the perfect candidate to celebrate the Addison’s
long-awaited reopening.
From its founding in 1931, the Addison Gallery of
American Art has been committed to supporting
contemporary artists. The museum’s Edward E. Elson
Artist-in-Residence program is a critical component
of the Addison’s mission as a teaching museum
and reflects the museum’s firm conviction that the
opportunity for students and visitors to interact with
an artist and experience the artistic process is critical
to learning. As a result, artists are invited to campus
each year to engage students and the community in
discussions, observation, and the making of art.
During the residency, Perich’s work, including
sound pieces, framed works on paper, and three
site-specific machine wall drawings, was exhibited.
Taking weeks to complete, the simultaneously
This past year, Tristan Perich ’00 served as the
Addison’s artist-in-residence and created a
multimedia installation to inaugurate the Museum
Learning Center, the centerpiece of the Addison’s
new Sidney R. Knafel Wing. A composer, musician,
and visual artist who is inspired by the aesthetics
of math and physics, Perich’s work encompasses
simple and complex wall drawings unfolded over
time, fascinating visitors of all ages. In addition to
meeting with and sharing his work and ideas with
numerous music, art, math, physics, and computer
science classes, Perich also collaborated with the
Phillips Academy music department to present a
concert that featured a selection of his compositions
performed by himself, faculty, and students, with
a guest appearance by the renowned electric guitar
quartet, Dither. Perich also made use of the Abbot
Hall visiting artist’s studio to create new work that
continues his investigations into the foundations
of electronic sound, including Microtonal Wall (in
1-bit), an installation that features 1,536 small
speakers blanketing an eight-by-twelve-foot wall
that will be exhibited in Norway in fall 2011.
The ideas that generate Perich’s art and the
challenges presented by his work enabled those
who had the opportunity to interact with him to
make new connections and consider the world
in fresh ways. Comprehensive and multilayered,
Perich’s residency at the Addison and Andover
exemplified the powerful range of educational
benefits that are at the heart of the Edward E. Elson
Artist-in-Residence program.
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Tristan Perich, 2008-07-18, 11:26 AM to 3:49 PM, 2008, ink on paper, gift of the artist, 2011.29
Facing page:
Visitors to the Museum Learning Center watch the creation of one of
Perich’s wall drawings.
Tristan Perich ’00 discusses the programming technology of his
machine drawings with a Phillips Academy computer science class.
This page:
Tristan Perich ’00 and Kelly Stathis ’12 rehearse for the concert of
Perich’s compositions performed by Perich with Phillips Academy
students and faculty.
10
PROGRAMS AND EVENTS
DIRECTOR’S CIRCLE preview reception to celebrate
the newly reopened Addison
21 September 2010
CONVERSATION with exhibiting artist Sheila Hicks and
exhibition co-curators Joan Simon and Susan Faxon
6 November 2010
OPEN HOUSE to celebrate the Addison’s reopening
and Inside, Outside, Upstairs, Downstairs: The
Addison Anew
25 September 2010
FAMILY OPEN HOUSE co-sponsored by the Addison,
the Andover Public Schools, and Andover Coalition
for Education
17 November 2010
GALLERY TALK for Inside, Outside, Upstairs,
Downstairs: The Addison Anew, given by curators
Jaime DeSimone, Susan Faxon, and Allison Kemmerer
3 October 2010
GALLERY TALK with Brian T. Allen, the Mary Stripp
and R. Crosby Kemper Director, on Abstraction 101:
How to Look at an Abstract Work of Art
17 October 2010
OPENING RECEPTION for Sheila Hicks: 50 Years and
Artist’s Project: Tristan Perich
5 November 2010
COLLECTION DIALOGUE: Albums, Scrapbooks, and
Folios, an interactive exploration of books and
multiples, with Addison curator Allison Kemmerer
8 December 2010
GALLERY TALK for John La Farge’s Second Paradise:
Voyages in the South Seas, 1890–1891, with
exhibition curator Elisabeth Hodermarsky, Sutphin
Family Associate Curator of Prints, Drawings &
Photographs, Yale University Art Gallery
23 January 2011
GALLERY TALK with Edward E. Elson Artist-inResidence Tristan Perich ’00
28 January 2011
CONCERT with compositions by Edward E. Elson
Artist-in-Residence Tristan Perich ’00 performed by
Phillips Academy student and faculty musicians
28 January 2011
COLLECTION DIALOGUE: Weaving and Basketry
(in conjunction with Sheila Hicks: 50 Years), with
Malinda Blustain, director of the Robert S. Peabody
Museum of Archaeology at Phillips Academy
16 February 2011
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COLLECTION DIALOGUE: Artists’ Sketchbooks (in
conjunction with John La Farge’s Second Paradise:
Voyages in the South Seas, 1890–1891), with Brian T.
Allen, the Mary Stripp and R. Crosby Kemper Director
10 March 2011
MUSEUM LEARNING CENTER TALK: An Exploration of
Civil War Narratives (in conjunction with Memorial
Hall Library, Andover), given by Jamie Kaplowitz,
Addison museum learning associate
24 March 2011
CONCERT: Landscapes of Sound, by Andover Chamber
Music, Julie Scolnik, artistic director
27 March 2011
DIRECTOR’S CIRCLE: Focus on American Antique
Silver at the Metropolitan Museum of Art and antique
silver dealer S.J. Shrubsole, New York
21 April 2011
COLLECTION DIALOGUE: The Addison’s Architectural
Legacy, with Susan Faxon, associate director and
curator of art before 1950
18 May 2011
COLLECTION DIALOGUE: Conservation Discoveries and
Quandaries, with Addison curator Allison Kemmerer
1 June 2011
COLLECTION DIALOGUE: American and British Silver,
with Brian T. Allen, the Mary Stripp and R. Crosby
Kemper Director
16 June 2011
Facing page:
Director Brian T. Allen gives a gallery talk in the exhibition Inside,
Outside, Upstairs, Downstairs: The Addison Anew.
Visitors get a close-up look at the pages of John James Audubon’s
Birds of North America with Julie Bernson, curator of education,
during the program Albums, Scrapbooks, and Folios.
This page:
Students, parents, teachers, and administrators weave their way
through the Addison during an open house organized with Andover
Public Schools.
Curators Allison Kemmerer and Susan Faxon share examples of
conservation challenges posed by works in the Addison collection
during the program Conservation Discoveries and Quandaries.
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EDUCATION
The opening of the Addison Gallery of
American Art’s new Museum Learning
Center in the Sidney R. Knafel Wing in the fall of
2010, combined with groundbreaking exhibitions
from the permanent collection as well as the work of
contemporary artists, inspired students, teachers,
and the community. More than 6,500 students and
380 teachers attended the Addison’s education
programs this year, exploring topics such as curating
as an educational tool, weaving as expression and
cultural understanding, artists and students as
researchers, making meaning of and in museums,
and creativity as community-building.
New Museum Learning Center Enhances
Phillips Academy Courses
The new Museum Learning Center offers access
to nearly every work in the Addison’s collection,
leading to new opportunities for collaboration in
2010–11 as Phillips Academy faculty discovered
ever-deeper connections between the Addison’s
collection and their teaching objectives. Inspired by
the curatorial practices of the Addison, the Museum
Students Served by Addison Education Department
by location 2010-11
Other
8%
Andover
16%
Phillips
Academy
49%
Lawrence
24%
Learning Center exploits the learning potential of
selecting, sequencing, comparing, contextualizing,
interpreting, and presenting images and artworks.
In 2010–11, groups from academic departments
such as English, history and social science, biology,
music, computer science, philosophy and religious
studies, theatre, and art, as well as PACE (Personal
& Community Education), and CAMD (the Office of
Community and Multicultural Development), have
explored images and ideas in support of a wide
range of topics. These have included the immigrant
experience, African American representation,
photojournalism and social documentation from
the Civil War through the civil rights movement,
technology and the media, ornithology and John
James Audubon, architecture and world culture,
modern literature, identity construction, and
families and interpersonal relationships.
Weaving a Web of Curriculum and
Community Connections
The stimulating variety of art, artists, and themes
presented over the course of the year provided
endless opportunities to connect educators and
students from a range of grades, subjects, and
communities with the Addison’s project-based
educational approach. Fostering multidisciplinary
connections, evolving curricula, critical thinking,
co-teaching strategies, and community interaction,
projects inspired by the Addison’s exhibitions
and collections support student learning, teacher
professional development, parent and public
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involvement, and real-world applications. The
broadening and deepening of these programs in
2010–11 was made possible by the expansion of
the education department, with the creation of the
position of education associate and museum learning
specialist, which allows the education fellow to focus
on school and community collaborations.
The exhibition Sheila Hicks: 50 Years sparked
multidisciplinary explorations and multimedia
expressions for many of the Addison’s educational
programs. Initially inspired by separate visits to this
powerful retrospective, first-graders from the
Henry K. Oliver School in Lawrence and the
Kindergarten Prep class from The Children’s Place
in Andover each engaged in weaving projects
throughout the school year. After meeting and
corresponding in the early spring, teachers Mary
Guerrero and Susan O’Hora worked with the Addison’s
educators to bring the two classes together. This
collaboration culminated in a spring day spent
making new friends and weaving together, and with
exhibitions at four public venues in Andover and
Lawrence. A reception for the weaving project at
Café Verde in Lawrence joined students, parents,
and residents of both communities. All guests were
invited to try out the floor loom—reminiscent of
those from the Lawrence mills—while engaging with
the young artists and their works. In February,
Andover’s West Middle School students invited
guests to their museum of Mesopotamian culture.
History teachers Emily Thompson and Michelle
Wesley worked with the Addison education
department to develop a unit on museums,
collections, curating, and interpretation to coincide
with their early civilizations unit. The sixth-graders
visited the exhibition Inside, Outside, Upstairs,
Downstairs: The Addison Anew, where they
questioned and investigated the processes that
curators use to choose, organize, research, and
display artistic, historical, and cultural artifacts.
To solidify their knowledge of Mesopotamia,
students built mock-ups of archaeological digs
and researched and presented the artifacts and
inventions of Mesopotamia. At the opening night
of the Fertile Crescent Museum held in the school
library, student museum guides led families through
galleries featuring themes paralleling those from
the Addison’s fall exhibition—such as Exploration,
Testament, and Myth.
Facing page:
First-graders from the Henry K. Oliver School, Lawrence,
Massachusetts, explore Sheila Hicks: 50 Years.
This page:
A Phillips Academy English class discusses personal identity through
portraits in the Addison collection.
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ACQUISITIONS
The Addison Gallery of American
Art holds one of the most important
collections of American art in
this country. When the museum opened its
doors in 1931 its core collection included 423 objects
purchased for or given to the museum by Phillips
Academy alumnus Thomas Cochran and his close
friends and consultants. Those initial works, by such
artists as Benjamin West, James MacNeill Whistler,
Winslow Homer, Thomas Eakins, and George Inness,
among others, have remained the touchstones of the
collection ever since.
Over the past 80 years, the Addison has steadily
built on Cochran’s extraordinary generosity and
continued to match the depth and quality of
this original collection. Through judicious use of
acquisition funds and generous gifts from
hundreds of donors, the Addison’s collection
currently includes nearly 17,000 works representing
the best of American art.
This year, purchases and gifts of significant works
in all media and representing all time periods
David Armstrong
Arbor, 1999
portfolio of six cibachrome prints
museum purchase
2011.4.1-6
Dale Chihuly, Black Niijima Floats (detail), 2010, 2010.96a-j
continued to enrich the Addison’s holdings.
Highlights include an important painting by
modernist John Graham, bequeathed to the museum
by Ruth Cole Kainen; four exquisite “miniatures”
by Sheila Hicks, purchased for the museum by Mark
Rudkin ’47; and an 18th-century teapot made by
Jacob Hurd and originally owned by the Phillips
family. These transformative gifts and purchases
all ensure that the collection remains vibrant and
dynamic, with diverse works of the highest quality.
Dawoud Bey
Kevin, 2005
pigment print
gift of the artist
2011.28
Vija Celmins
Web #5, 2009
mezzotint
gift of Joshua L. Steiner ’83
2011.31
Richard Bosman
Captivity Narrative at Hannah
Dustin, 1987
bound book
gift of Judy Ann Goldman
2010.97
Dale Chihuly
Black Niijima Floats, 2010
glass
purchased as the gift of R. Crosby
Kemper ’45 through the R. Crosby
Kemper Foundation in memory of
Harry C. Morgan ’45
2010.96a-j
Donald Burgy
Art Ideas for the Year 4000, 1970
artist book
gift of the artist
2010.101
Dawoud Bey, Kevin, 2005, 2011.28
15
Mark H. Campbell
Ekstasis, 2009
mahogany, oil, and epoxy
gift of Robert M. and Lillian
Montalto Bohlen
2010.102
Floats Drawing, 2009
charcoal, chalk, and paint on
paper
gift of Dale and Leslie Chihuly
2010.98
Konrad Cramer
Light Study, 1950s
gelatin silver print
museum purchase
2011.1
Sheila Hicks
Fenêtre I, 2009
cotton, bamboo, linen, silk
purchased as the gift of
2011.18
Light Study, 1950s
museum purchase
2011.2
Jordan Eagles
LF 1, 2008
blood preserved on
plexiglass, UV resin
gift of Robert M. and
Lillian Montalto Bohlen
2010.103
Peter Edlund
Homeland Security: Near Camp
Gila River, AZ (after Adams), 2003
oil on canvas
2010.70
Philip Evergood
Happy Horse, 1946
oil on canvas
bequest of Ruth Cole Kainen
2010.108
Fenêtre II, 2009
2011.19
Sheila Hicks, Fenêtre I, 2009, 2011.18
Al Held
Straits of Magellan, 1986
etching
gift of Bill and Bunny Maren
2011.13
Fenêtre III, 2009
2011.20
Fenêtre IV, 2009
wool
2011.21
Sam Francis
Untitled, 1981
lithograph
gift of the Sam Francis Foundation
2011.9
Up and Down in Winter, 1984
etching
2011.10
Untitled, 1982
aquatint
2011.11
John Graham
Mascara, 1950
oil on canvas
gift of Ruth Cole Kainen
2010.104
Red Grooms
Fats Domino Blueberry Hill, 1984
three-dimensional construction
color lithograph mounted in
Plexiglas case
2011.17
John Graham, Mascara, 1950, 2010.104
16
Lewis Hine
Carrying In Boys at Cumberland
Glass Works, Bridgeton, N.J., 1909
gift of Jacob and Ruth Cole Kainen
2010.105
Row of Tenements, 260 to 268
Elizabeth Street, New York City,
March 1912
museum purchase
2011.12
Jacob Hurd, Teapot, c. 1750, 2011.27
Phillips Teapot
In the spring of 2011, thanks to the generosity of a group
of Phillips Academy alumni, the Addison purchased a
1750 silver teapot that is an extraordinary example of
American silver with deep ties to Phillips Academy.
The teapot, made in Boston by Jacob Hurd, was inherited
by Phebe Foxcroft Phillips, wife of Samuel Phillips Jr.,
founder of Phillips Academy. The apple-shaped
teapot is beautifully proportioned and weighs about
twice the average of a Boston teapot from the period.
The engraving on the lid is very rare, featuring an
elaborate hunting scene with mounted hunters as well
as stags and trees. On axis with the spout is a croft
(farmhouse) with a fox engraved in the pediment—a
rebus for Foxcroft—adding to the unique nature of the
piece and underscoring its Phillips Academy connection.
Jacob Hurd was the most important silversmith in
mid-century Boston and arguably the most influential
silversmith in Boston in the 18th century. About 50 percent
of mid-century Boston silver existing today came from his
workshop, and this alone attests to the great impact he and
his two sons, Nathaniel and Benjamin, had on Boston style.
17
Jacob Hurd
Teapot, c. 1750,
silver silver with wood handle,
Sidney R. Knafel ’48,
Stephen C. Sherrill ’71,
Bernard G. Palitz ’42,
William Heidrich ’72,
S.J. Shrubsole Corp.,
Thomas Foley ’71,
J. Mark Rudkin ’47, and
Kuni and Michael Schmertzler ’70
2011.27
Duane Michals, What Is Death?, 1994, 2011.22
John Koch
The Toast, 1964
oil on canvas
purchased as the gift of Londa
Weisman in honor of the 80th
birthday of her husband,
Sidney R. Knafel ’48
to be accessioned
Sol LeWitt
Wall Drawing #1192: Within a
100” (250 x 250 cm) black marker
square, the location of a square,
circle, and equilateral triangle,
October 2005
marker lines and pencil description
partial gift of the artist and partial
museum purchase with funds from
Mimi Won and anonymous donor,
by exchange
2011.33
Roy F. Lichtenstein
Sweet Dreams Baby, 1965
screenprint
gift of Dr. Joseph Clive Enos III ’60
2010.69
What Is Death?, 1994
gelatin silver print with handapplied text purchased as the gift
of Louis Wiley Jr. ’63 and John
Clarke Kane Jr. ’63 in memory
of Paul L. Monette ’63 on the
occasion of their 50th Reunion,
with additional support from the
Monette-Horwitz Trust
2011.22
What Is Memory?, 1994
gelatin silver print with handapplied text purchased as the gift
of Louis Wiley Jr. ’63 and John
Clarke Kane Jr. ’63 in memory
of Paul L. Monette ’63 on the
2011.24
What Is Life?, 1994
gelatin silver print with handapplied text
purchased as the gift of Louis
Wiley Jr. ’63 and John Clarke
Kane Jr. ’63 in memory of
Paul L. Monette ’63 on the
2011.23
Mark Morrisroe
Two X-Rays of Mark Morrisroe’s
Chest with Embedded Bullet, 1989
two gelatin silver prints
2011.25a,b
Glenn Ligon
Runaways, 1993
suite of ten lithographs
museum purchase
2011.34.1-10
Louis Lozowick
Painting sketch No. 2 - New York,
1922
oil on canvas
2010.106
Duane Michals
Narcissus, 1986
five gelatin silver prints
Louis Wiley Jr. ’63 and
John Clarke Kane Jr. ’63 in
memory of Paul L. Monette ’63
on the occasion of their 50th
Reunion, with additional
support from the
2010.100a-e
Roy F. Lichtenstein, Sweet Dreams Baby, 1965, 2010.69
18
Jon Schueler
Early Light, Summer, 1956
oil on canvas
gift of the Jon Schueler Estate
2011.32
Laurie Simmons
Kitchen/Table/Chair, 1976
museum purchase
2011.6
Table/Pot/Two Greek Vases II,
1977
museum purchase
2011.7
Mark Rothko, Personages, c. 1946, 2010.107
Self Portrait, December 1981
chromogenic print
museum purchase
2011.26
Tristan Perich
2008-07-18, 11:26 AM to 3:49 PM,
2008
ink on paper
gift of the artist
2011.29
Jo Sandman
Untitled, 1976
roofing paper reassembled and
mounted on dibond aluminum
panel
gift of Katharine Kane in memory
of Louis I. Kane ’49
2010.99
2008-07-01, 7:04 PM to 11:54 PM,
2008
ink on paper
purchased as the gift of Parents
of Students of Phillips Academy
and museum purchase
2011.30
Mark Rothko
Personages, c. 1946
watercolor and pastel
2010.107
Fred Sandback
Untitled, 1975
linocut
2011.14
Untitled, 1975
linocut
2011.15
19
Shellburne Thurber, Chesson House, 1998, 2011.5
Woman/Kitchen/Sitting on Sink,
1976
gift of Sybil and Kelly Wise, by
exchange
2011.8
Pat Steir
The Wave—From the Sea—After
Leonardo, Hokusai, & Courbet,
1985
etching, aquatint, and drypoint
2011.16
Karl F. Struss
Metropolitan Life Insurance
Tower, New York, 1910
platinum print
museum purchase
2011.3
Alma Woodsey Thomas
Ruth Kainen’s Amaryllis, 1976
acrylic on canvas
bequest of Ruth Cole Kainen
2010.109
Shellburne Thurber
Chesson House, 1998
cibachrome print
2011.5
Underwood and Underwood
Baseball Fans, May 24, 1938,
1938
museum purchase, by exchange
2010.73
Baseball, April 14, 1936, 1936
2010.74
Yanks Rout Giants 8 to 1 in First
Game of the World Series, October
7, 1937, 1937
2010.75
Yankee Stadium Before
Reconstruction
2010.76
Sheila Hicks, Fenêtre II, 2009, 2011.19
Sheila Hicks
Sheila Hicks’s retrospective exhibition at the Addison in
fall 2010 filled the museum with dazzling works composed
of color and line, ranging from oversized, three-dimensional,
wrapped, and draped hangings to small, two-dimensional
woven miniatures or “minimes,” created on a hand-held
loom. To commemorate the celebratory exhibition and to
honor this remarkable internationally renowned American
artist, the Addison was able to add four Hicks miniatures
from the 2009 Fenêtre series to its collection, with the
support of the artist and with the generous assistance
of the Addison’s long-time friend, advisor, and supporter
Mark Rudkin ’47. The sophisticated interplay of jewel-like
tones, the elegant, minimal form, and the suggestion of
both enframement and openness (the quality of the
“window” that is referenced by their title) of Fenêtre I,
Fenêtre II, Fenêtre III, and Fenêtre IV, ensure that these
treasured works will play an integral role in the
Addison’s future exhibition and teaching programs.
Laurie Simmons, Kitchen/Table/Chair, 1976, 2011.6
20
Brooklyn Beats Giants in
Double-Header
2010.77
Yanks Rout Giants 8 to 1 in
First Game of the World Series,
October 5, 1937, 1937
2010.78
Fred Snodgrass, NY Giants
2010.79
Ty Cobb, 1936
2010.80
Dale Chihuly, Black Niijima Floats (detail), 2010,
2010.96a-j
Ty Cobb, 1936
2010.81
Night Game Between the Boston
Bees and the New York Giants
Played at the Polo Grounds
2010.82
21
Black Niijima Floats (2010) by Dale Chihuly graces the Addison Gallery’s green roof
and is visible from the Sidney R. Knafel Wing. Photo credit: Jeff Goldberg/Esto
Dale Chihuly
As a result of a generous donation from R. Crosby Kemper ’45
in memory of his classmate Harry C. Morgan, the Addison’s
newly renovated building is graced with a major installation
by Dale Chihuly, one of the world’s foremost artists working
in glass. Sitting atop the museum’s new green roof and
visible from the Museum Learning Center, Black Niijima
Floats (2010) was designed by Chihuly specifically for this
site. Consisting of ten glass spheres—referred to as “Floats”
by the artist—of various sizes and with subtly differentiated
surfaces, the objects were blown in the artist’s studio in
Seattle, Washington.
Inspired by small Japanese fishing net floats washed up
on the shores of the Pacific that the artist encountered as
a child, the Addison’s sculptures are made of black glass
and adorned with spatters and swirls of silver, gold, and
iridescent paint. Evocative of deep-sea organisms or celestial
orbs, the assembled Floats lend the roof an otherworldly
effect as the shifting sunlight causes them to glow and
shimmer against the subdued greens of their sedum-covered
foundation.
Scene of World’s Heavyweight
Title Bout
2010.83
New Manager of Brooklyn Club in
New York
2010.86
Two New Managers Attend Annual
Meeting of National League
Magnates
2010.84
First Game of the World Series,
Yankees and Brooklyn
2010.87
Baseball Players Clash Bring $100
Fine and Five Days Suspension for
Each, April 16, 1925, 1925
2010.85
Yanks Beat Boston in Opening
Game, April 24, 1926, 1926
2010.88
Record Crowd Out for First Series
Game in Capital, October 5, 1933,
1933
2010.89
Underwood and Underwood, Yanks Beat
Boston in Opening Game, April 24, 1926,
1926, 2010.88
Joseph V. McKee
2010.90
Sportman’s Park, St. Louis, MO,
October 1, 1934, 1934
2010.91
Underwood and Underwood, Lou Gehrig, Yankee Stadium, 2010.92
22
Ernest C. Withers, Dr. Martin Luther King Jr. and Reverend Ralph Abernathy on First Desegregated Bus Ride.
Montgomery, Alabama, December 21, 1956, 1956, 2010.71
Lou Gehrig, Yankee Stadium,
2010.92
Baseball Game, Opening of 1934
Season at Griffith Stadium,
Washington, D.C., 1934
2010.93
John Adams Whipple
University Book Store, Cambridge,
MA, c. 1867-69
albumen print
gift of Paula Lee and Mack Lee
2010.95
Ernest C. Withers
Dr. Martin Luther King Jr. and
Reverend Ralph Abernathy on
First Desegregated Bus Ride.
Montgomery, Alabama,
December 21, 1956, 1956
gift of Harvey and Sondra Burg
2010.71
Yanks Rout Giants 8 to 1 in First
Game of the World Series,
October 7, 1937, 1937
2010.94
David Wojnarowicz, Untitled (face in dirt), c. 1990, 2010.72
23
David Wojnarowicz
Untitled (face in dirt), c. 1990
2010.72
John Koch, The Toast, 1964, oil on canvas (to be accessioned)
John Koch
“Magical” is the best word to describe The Toast, a
jewel-like painting by John Koch from 1964. Koch was
known as the Vermeer of the upper west side of Manhattan,
the artist who specialized in depicting the everyday lives of
artists, intellectuals, musicians, and writers. The Toast is a
gift of Londa Weisman to celebrate the 80th birthday of her
husband, Sidney R. Knafel ’48, chair of the Addison’s Board
of Governors. The celebratory character of the painting,
together with the occasion for this gift, coincides perfectly
with the 80th anniversary year in which it arrived in the
Addison’s collection.
Koch painted in a realist style at variance with the
avant-garde trends of his time. He worked during the era
of Pop Art, feminist art, Minimalism, and Conceptualism.
The Toast thus adds to the collection an important
counterpoint to these movements, enhancing the richness
of the Addison’s holdings but also pointing to the complexity
and variability of the art scene during his time.
Duane Michals, Narcissus, 1986
2010.100a-e
24
LOANS
The Addison Gallery of American Art’s
superb collection is world-renowned.
Every year the museum receives numerous
requests from other museums to borrow works
of art. In the past 15 years alone, objects from
the Addison collection have traveled to more
than 100 cities in the United States and Europe.
We are pleased to share this remarkable
resource with the world outside of Andover.
Edmund D. Lewandowski, Boats, 1943.123
Following the Money: Andy
Warhol’s American Dream
Hood Museum of Art,
Dartmouth College, Hanover,
New Hampshire
7/17/2010–9/19/2010
Andy Warhol
Flash—November 22, 1963, 1968
eleven screenprints with
Teletype text
David Winton ’71
2002.17
Portrait of Dennis Hopper, 1971
acrylic on canvas
gift of Donnelley Erdman ’56
1977.177
S&H Green Stamps, 1965
offset lithograph
gift of Amy Schmertzler Anisimov
in memory of Jack Clift
2002.18
Manly Pursuits: The Sporting
Images of Thomas Eakins
Los Angeles County Museum of Art,
California
7/25/2010–10/17/2010
Thomas Eakins
Salutat, 1898
oil on canvas
gift of anonymous donor
1930.18
Edmund Lewandowski:
Precisionism and Beyond
Winthrop Galleries, Winthrop
University, Rock Hill, South
Carolina
9/6/2010–12/5/2010
Mobile Museum of Art, Alabama
1/20/2011–4/2/2011
Flint Institute of Arts, Michigan
5/7/2011–8/7/2011
Georgia Museum of Art, University
of Georgia, Athens
9/10/2011–12/4/2011
Museum of Wisconsin Art,
West Bend
1/11/2012–4/8/2012
Edmund D. Lewandowski
Boats
gouache, pencil on cardboard
museum purchase
1943.123
Gifford Beal, Trapeze Artist (Circus Performer), c. 1930, 1933.79
25
Circus! Art and Science Under the
Big Top
Bruce Museum, Greenwich,
Connecticut
9/24/2010–1/9/2011
Harold Edgerton
Moscow Circus, 1963
dye transfer print
gift of The Harold and Esther
Edgerton Family Foundation
1996.58.4
Harry C. Rubincam
In the Circus, 1905
photogravure on tissue
gift of Georgia O’Keeffe and
Elizabeth Davidson
1953.32.9
American Modern: Abbott, Evans,
Bourke-White
Amon Carter Museum of American
Art, Fort Worth, Texas
10/2/2010–1/2/2011
Berenice Abbott, Canyon: 46th Street and
Lexington Avenue, Looking West, 1936,
1978.100
Gifford Beal
Trapeze Artist [Circus Performer],
c. 1930
lithograph on wove paper
museum purchase
1933.79
The Art Institute of Chicago, Illinois
2/5/2011–5/15/2011
Colby College Museum of Art,
Waterville, Maine
7/7/2011–10/2/2011
Margaret Bourke-White, Looking Up Inside
Sending Tower, N.B.C., Bellmore, L.I., 1933,
1934.51
Berenice Abbott
Canyon: 46th Street and
Lexington Avenue, Looking West,
1936
museum purchase
1978.100
Margaret Bourke-White
Looking Up Inside Sending Tower,
N.B.C., Bellmore, L.I., 1933
museum purchase
1934.51
NBC Transmission Coils, 1933
museum purchase
2004.14
Walker Evans
Brooklyn Bridge, 1929–30
gift of Arnold H. Crane
1985.46.96
Manhattan, c. 1928–30
1985.46.65
Untitled (Brooklyn shipyard),
1928–29
1985.46.63
Harold Edgerton, Moscow Circus, neg. 1963, print 1984-1990, 1996.58.4
26
John La Farge, Sketch of Maua, Apia. One of
Our Boat Crew, 1891, 1931.8
John La Farge’s Second Paradise:
Voyages in the South Seas,
1890–91
Yale University Art Gallery,
New Haven, Connecticut
10/19/2010–1/2/2011
Addison Gallery of American
Art, Phillips Academy, Andover,
Massachusetts
1/22/2011–3/27/2011
Thomas Eakins
Salutat, 1898
oil on canvas
1930.18
Under the Big Top: The Fine Art of
the Circus in America
Robert Hull Fleming Museum,
University of Vermont, Burlington
1/25/2011–5/22/2011
David Wojnarowicz
Untitled (face in dirt), c. 1990
Kane Jr. ’63 in memory of Paul L.
Monette ’63 on the occasion
of their 50th Reunion, with
additional support from the
2010.72
George Bellows
The Circus, 1912
oil on canvas
gift of Elizabeth Paine Metcalf
1947.8
Sargent and Impressionism
Adelson Galleries, New York,
New York
11/4/2010–12/18/2010
John Singer Sargent
The Blue Bowl, c. 1885–89
oil on board
museum purchase
1987.56
John Singer Sargent, The Blue Bowl,
c. 1885–89, 1987.56
John La Farge
Sketch of Maua, Apia. One of
Our Boat Crew, 1891
oil on canvas
1931.8
Hide/Seek: Difference
and Desire in American
Portraiture
National Portrait Gallery,
Smithsonian Institution,
Washington, D.C.
10/30/2010–2/13/2011
Edward Hopper, Freight Cars, Gloucester, 1928, 1956.7
27
Walt Kuhn
Acrobat in Green, 1927
oil on canvas
bequest of Lizzie P. Bliss
1931.88
Maine Moderns: Art in Seguinland,
1900–1940
Portland Museum of Art, Maine
6/4/2011–9/11/2011
Marsden Hartley
Jotham’s Island (now Fox), Off
Indian Point, Georgetown, Maine.
Mouth of Kennebec River, Seguin
Light at Left, 1937
oil on board
museum purchase
1938.41
John Marin: Modernism at
Midcentury
Portland Museum of Art, Maine
6/23/2011–10/9/2011
George Inness, The Monk, 1873, 1956.6
George Inness in Italy
Philadelphia Museum of Art,
Pennsylvania
2/19/2011–5/15/2011
Timken Museum of Art, San Diego,
California
6/10/2011–9/18/2011
Taft Museum of Art, Cincinnati,
Ohio
10/7/2011–1/8/2012
George Inness
The Monk, 1873
oil on canvas
gift of Stephen C. Clark in
recognition of the 25th
anniversary of the Addison
Gallery
1956.6
A Window Into Edward Hopper
Fenimore Art Museum of the New
York State Historical Association,
Cooperstown
5/29/2011–9/5/2011
Edward Hopper
Freight Cars, Gloucester, 1928
oil on canvas
gift of Edward Wales Root
in recognition of the 25th
anniversary of the Addison Gallery
1956.7
Amon Carter Museum of American
Art, Fort Worth, Texas
11/4/2011–1/8/2012
Addison Gallery of American
Art, Phillips Academy, Andover,
Massachusetts
1/27/2012–4/1/2012
John Marin
Movement: Seas After Hurricane
Red, Green and White, Figure in
Blue, Maine, 1947
oil on canvas
promised gift of Norma B. Marin
PL2005.2
Marsden Hartley, Jotham’s Island (now Fox), Off Indian Point, Georgetown, Maine. Mouth of Kennebec
River, Seguin Light at Left, 1937, 1938.41
28
ADDISON TIMELINE 1928-2011
1928
Phillips Academy alumnus, trustee, and benefactor
Thomas Cochran, Class of 1890, donates 50
American paintings to Phillips Academy in honor
of the school’s 150th anniversary, and calls for the
establishment of an art museum at the school.
1930
Charles H. Sawyer ’24 is appointed the first director
of the Addison.
1931
The Addison Gallery of American Art, named for
Cochran’s late friend Keturah Addison Cobb, opens
to the public in May. The core collection of more
than 400 works includes paintings by Winslow
Homer, Arthur B. Davies, George Bellows, and
Thomas Eakins.
The museum’s first exhibition showcases late
Addison art committee member Lizzie P. Bliss’s
collection of modern American and French art.
1933
Studio art classes for Phillips Academy students
commence in the basement of the Addison;
Bartlett H. Hayes Jr. ’22 is hired as an art instructor.
1934
The Addison purchases four pictures by Margaret
Bourke-White, the first photographs to enter the
museum’s collection.
1936
Famed architect Frank Lloyd Wright lectures to
the Phillips Academy community at the Addison
Gallery on October 23.
1938
The Addison presents the first John Sloan
retrospective exhibition and accompanying
catalogue.
1940
Charles H. Sawyer becomes the director of the
Worcester Art Museum. Bartlett H. Hayes Jr. is
appointed director of the Addison.
Thomas Eakins, Professor Henry A. Rowland, 1897, oil
on canvas, gift of Stephen C. Clark, Esq., 1931.5
Studio art class at the Addison, c. 1940
1944
Josef Albers’s Bent Black (A) (1940) enters the
collection through Hayes’s Art Begins at Home:
The Addison Gallery Gift Plan project.
1946
Charles Sheeler is the Addison’s first artist-inresidence.
Winslow Homer’s Kissing the Moon (1904) and
Childe Hassam’s Avenue of the Allies (1918) arrive
at the Addison, bequests of Candace C. Stimson.
1947
Winslow Homer, Eight Bells, 1886, oil on canvas, gift of an anonymous
donor, 1930.379
29
Hayes mounts Seeing the Unseeable, a
retrospective exhibition of work by Hans Hoffman.
1958
William and Saundra Lane donate Patrick Bruce’s
Peinture/Nature morte (c. 1924), Franz Kline’s
Abstract (1948), and Hyman Bloom’s Cadaver
No. 1 (c. 1952).
1964
Hayes appoints Christopher C. Cook to the position
of assistant director.
1967
Cook curates Feelies: The Nature of Things
Perceived Through Touch, one of many interactive
exhibitions on sensory experience.
1969
Bartlett Hayes becomes director of the American
Academy in Rome; Christopher Cook begins his
20-year tenure as director of the Addison.
The Addison’s 50th anniversary, May 1981
The Works, a survey of the entire collection, is
installed salon-style throughout the museum.
1973
The exhibition The Black Photographer 1908–1920
is organized by the Addison.
1981
The Addison celebrates its 50th anniversary.
Edward E. Elson ’52, with family and friends,
establishes the Edward E. Elson Artist-inResidence Fund.
The exhibition Frank Stella: From Start to Finish
draws national attention.
Jackson Pollock, Phosphorescence, 1947, oil, enamel, and
aluminum paint on canvas, gift of Peggy Guggenheim,
1950.3
1950
Peggy Guggenheim donates Jackson Pollock’s
Abstract Expressionist canvas Phosphorescence
(1947).
1953
Georgia O’Keeffe donates 22 volumes of Alfred
Stieglitz’s magazine Camera Work.
1956
In celebration of the Addison’s 25th anniversary,
prominent works are acquired, including Frederick
Remington’s Moonlight—Wolf (c. 1909),
John F. Peto’s Office Board for Smith Brothers Coal
Company (1879), Edward Hopper’s Freight Cars,
Gloucester (1928), and George Inness’s The Monk
(1873).
1984
The Edwin J. Beinecke Trust donates Eadweard
Muybridge’s epic 11-volume photographic series,
Animal Locomotion (1872–87).
1986
Ten Artists Working in New York City and
Washington, D.C. is curated by Robert Feldman ’54
and future Addison director Jock Reynolds ’65.
1988
The presentation of Where War Lives: A
Photographic Journal of Vietnam, by Dick
Durrance II ’61, coincides with the publication of
his book based on his Vietnam images.
1989
Christopher Cook steps down as director to teach
full time at Phillips Academy. Jock Reynolds
becomes the Mary Stripp and R. Crosby Kemper
Director.
1991
The Addison Art Drive adds more than 100 modern
and contemporary works to the collection, among
them Ellsworth Kelly’s Untitled (Green, RedOrange) (1974), Jasper Johns’s Untitled (Target)
(1958), Maud Morgan’s Gyre #3 (1947), and Martin
Puryear’s sculpture Untitled (1981).
30
1993
To preserve the Addison’s legacy, the museum
building is retrofitted with a new climate control
system.
The Addison presents Sol LeWitt: Twenty-Five
Years of Wall Drawings, 1968–1993, a major,
critically acclaimed survey that included 44 wall
drawings executed by the artist, his assistants,
Phillips Academy staff and students, and local
artists.
1995
1996
Photographer Robert Frank serves as an Edward E.
Elson Artist-in-Residence. The exhibition Robert
Frank—The Americans showcases the purchase of
the photographer’s landmark 84-image series for
the permanent collection.
David Ireland, Interior, Abbot Hall Artist Apartment, 1993-96,
mixed media, gift of Ann M. Hatch ’67, 1996.73. Photo credit:
Frank E. Graham
David Ireland, Edward E. Elson Artist-inResidence, designs the Abbot Hall artist apartment
in conjunction with architect Henry Moss and
J.F. Sirois Architectural Woodworking.
The exhibition Addison Gallery of American Art:
65 Years celebrates the museum’s anniversary.
An eponymous catalogue of the collection is
published.
1998
Jock Reynolds leaves the Addison to become the
Henry J. Heinz II Director of the Yale University
Art Gallery.
1999
To Conserve a Legacy: American Art from
Historically Black Colleges and Universities, an
exhibition, conservation, and educational project,
is co-organized by the Addison Gallery
of American Art and The Studio Museum in Harlem.
Director Jock Reynolds (left) celebrates the Addison’s 65th
birthday with directors emeriti Charles Sawyer (at center) and
Christopher Cook. Joining them is Clare Hayes, widow of
Bartlett Hayes.
John O’Reilly: Assemblies of Magic is the first
museum retrospective of this major artist.
(Edward E. Elson Artist-in-Residence)
Adam D. Weinberg becomes the fifth director of
the Addison.
2000
2002
Secret Games: Wendy Ewald Collaborative
Works with Children, 1969–1999, co-organized
by the Addison Gallery and the Fotomuseum
in Winterthur, Switzerland, is the first major
retrospective exhibition of work by the artist,
a 1969 graduate of Abbot Academy.
SiteLines: Art on Main features site-specific
works by nine artists—Jason Middlebrook,
Mel Kendrick ’67, Lee Mingwei, Jessica
Stockholder, Andrea Zittel, Arthur Ganson,
Mark Dion, Abelardo Morell, and Nari
Ward—situated throughout the Phillips
Academy campus and downtown Andover.
The Trisha Brown Dance Company presents the
performance Trisha Brown: Dance and Art in
Dialogue, 1961–2001 in conjunction with the
exhibition of the same name.
31
2003
Richard Serra: Large Scale Prints marks the first
American museum study of the artist’s graphic
oeuvre. (Edward E. Elson Artist-in-Residence)
Jim Hodges works with more than 100 Phillips
Academy and nearby Lawrence, Massachusetts,
high school students to create an installation
of color and sound. (Edward E. Elson Artist-inResidence)
Adam Weinberg leaves the Addison to become the
Alice Pratt Brown Director of the Whitney Museum
of American Art in New York.
2004
Brian T. Allen becomes the Mary Stripp and
R. Crosby Kemper Director of the Addison.
2007
The next 75 years begin with the major
retrospective exhibition William Wegman—
Funney/Strange. (Edward E. Elson Artist-inResidence)
An Impressionist Legacy: Lawrence’s White Fund
Paintings features the paintings belonging to the
White Fund, a charitable trust for the advancement
of the citizens of Lawrence.
Models as Muse: Roderick Buchanan, Christine
Hiebert, Jennifer and Kevin McCoy, and David
Opdyke creates a dialogue between the Addison
Gallery’s famed model ship collection and the
commissioned work of these artists.
2008
Carroll Dunham Prints: A Survey, the first museum
study of the artist’s graphic oeuvre, includes more
than 100 prints ranging in date from 1984 to the
present. (Edward E. Elson Artist-in-Residence)
The Addison Gallery closes for a two-year
renovation and expansion project. Designed by
Centerbrook Architects and Planners, the project
restores the 1930 Charles Platt building and adds
the new, 13,770-square-foot Sidney R. Knafel
Wing, providing expanded, state-of-the-art
storage facilities for the collection and housing the
Museum Learning Center, which allows increased
access to collections and programs for students,
teachers, and the public.
Carroll Dunham, Full Spectrum, 1985-1987, fourteen-color lithograph and
silkscreen on paper, gift of the artist, 2007.42.5
2010
The Addison celebrates its reopening with Inside,
Outside, Upstairs, Downstairs: The Addison Anew,
a comprehensive exhibition of more than 300 art
objects chosen from the museum’s collection.
2005
Unfamiliar Territory: Photographs by Oscar Palacio
features new work created during Palacio’s time
as the Addison’s 2004 Edward E. Elson Artist-inResidence.
2011
2006
Exhibitions celebrating the 75th anniversary
include In Focus: 75 Years of Collecting American
Photography and Coming of Age: American Art,
1850s–1950s.
The Addison completes the final phase of its
construction project with the installation of a
new glass roof. The new roof overlays the old to
preserve the Addison Gallery’s historic, classical
revival building, maintaining both the essential
character of the building’s exterior and the natural
light that fills its second-floor galleries.
The Addison celebrates the 80th anniversary
of its founding.
Jennifer Bartlett: Early Plate Work includes
Bartlett’s defining 987-plate piece, Rhapsody.
The exhibition Portraits of a People: Picturing
African Americans in the Nineteenth Century is
dedicated to the memory of Charles Beard ’62,
member of the Phillips Academy Board of Trustees
and the Addison’s Board of Governors.
TH
Anniversary
32
THE PRESERVATION OF AN ARCHITECTURAL TREASURE
The final phase of construction at the Addison Gallery of American Art—the construction of a new glass roof
to overlay the original 1931 roof—began in the spring of 2010 and has been completed in time for the
Addison’s fall 2011 80th anniversary celebration.
The completion of this new roof overlay was the last step in preserving and restoring the Addison Gallery’s
historic, classical revival building, which was designed by architect Charles A. Platt and opened in 1931.
For the last 80 years, the museum’s glass roof has contributed to the essential character of the building’s
exterior appearance and has enhanced the experience of viewing art by allowing UV-filtered natural light
to fill the second-floor galleries. The innovative approach to protecting and preserving the original roof
by constructing a new, state-of-the-art glass overlay roof will allow the continuation of the viewing
experience envisioned by the building’s architect. It is with pleasure that Phillips Academy and the Addison
have worked together to assure the retention of Charles Platt’s elegant architecture for generations to come.
TH
Anniversary
33
THE CAMPAIGN FOR THE ADDISON
As part of The Campaign for Andover,
the Phillips Academy’s Board of Trustees approved
a $30 million campaign for the Addison Gallery of
American Art, including $8 million to build the
museum’s endowment and $22 million to build a
new wing and install state-of-the-art climate
control, security, lighting, and other systems
throughout the building. The Addison reached its
building campaign goal in October 2010. Of the
endowment goal, $3 million has been secured to
date and $5 million is still needed.
The current value of the Addison’s endowment is
approximately $36 million. Funding approximately
55 percent of the museum’s annual operating
budget, income from the endowment is essential
to the fulfillment of the museum’s purpose. The
Addison’s expansion has allowed the museum
to expand its programs, and operating costs have
therefore increased. To meet these programatic
opportunities and costs and to maintain the
financial equilibrium of the endowment, it is
vital to complete the endowment campaign.
Named Giving Opportunities: Endowment
The Sherrill Challenge
Shop ...................................................................$500,000
Charter Trustee Stephen C. Sherrill ’71 and his wife,
Kitty (P’05, ’07, ’10), have made a generous and
timely one-to-one challenge commitment of
$1.5 million that will play a critical role in raising
$3 million toward the Addison’s $5 million goal.
All new Addison gifts or pledges of $25,000 and
above toward endowment will qualify for the
Sherrill Challenge.The Addison must raise the entire
$1.5 million by June 30, 2012, in order to qualify for
the Sherrills’ gift.
Curator of Contemporary Art ............................... $1,500,000
Curator of Education .......................................... $1,500,000
Education Fellow ...............................................$1,000,000
Registrar ..........................................................$1,000,000
Exhibitions Funds .............................. $100,000–$1,000,000
General Endowment Funds.....................................All Levels
Named Giving Opportunities: Building
First Floor
Galleries 2 & 3 (as a pair) ........$1,500,000 (or $750,000 each)
Galleries 4 & 5 (as a pair) ........ $1,500,000 (or $750,000 each)
New Library (both rooms)...................................$2,000,000
Main Stair .........................................................$2,000,000
Second Floor
Gallery 3 ...........................................................$1,000,000
Gallery 4 ...........................................................$1,000,000
Gallery 5 ...........................................................$1,000,000
Gallery 7 ...........................................................$1,000,000
Office Spaces .......................................................$100,000
To help assure that the Addison succeeds in reaching
its capital campaign goal, please contact Susannah
Abbott, director of development at the Addison
Gallery, at 978.749.4027 or [email protected].
34
BECOME A FRIEND OF THE ADDISON!
When you support the Addison, you
help to ensure that the museum will
remain a vibrant cultural institution
for all to enjoy. The museum is almost
completely financially independent of Phillips
Academy, receiving less than two percent of its
income from the school. Annual gifts from friends
account for approximately 37 percent of the
Addison’s annual budget.
Photo credit: Jeff Goldberg/Esto
Friends of the Addison Benefits
• Invitations to members-only special receptions
• A 10% discount at the Addison museum shop
• A 10% discount at Samuel’s Restaurant at the Andover Inn with a current Addison membership card
• Recognition in the Addison’s annual report
I would like join Friends of the Addison. Enclosed is my donation of: $50 | $100 | $250 | $500 | $750 | Other $ _______
Director’s Circle Benefits
The Director’s Circle recognizes those friends who provide annual leadership support of $1,000 or more. Members of
the Director’s Circle enjoy the same benefits as Friends of the Addison, as well as:
• Invitations to special programs with Addison director Brian Allen, including tours of private collections,
auction previews, and events
• Complimentary exhibition catalogues
• A 10% discount when hosting a private event at the Addison
Please welcome me to The Director’s Circle: $1,000 | $2,500 | $5,000 | $10,000 | Other $ ______________
I would like to make a commitment to support the Addison for the next five years, with a five-year pledge of $ _______
I have enclosed $ ________ as the first pledge payment. Please remind me of my pledge on an annual basis.
Name [as you would like to be listed in publications] Mr. | Ms. | Mrs. | Mr. & Mrs. | Dr. | Drs.
Street Address
City
State
Zip
Telephone Number
E-mail Address
Date
Please make checks payable to Addison Gallery of American Art.
Please charge my: Visa | Mastercard | American Express
Account Number
Signature
35
Expiration Date
BUDGET
The general operations of the Addison
Gallery of American Art are supported
by an endowment established by Thomas
Cochran upon the museum’s opening in 1931 and
by additional endowment funds established by
other individuals since that time. This support
is supplemented by restricted-use funds given
to address particular needs (e.g., symposia and
visiting lecturers, conservation, art acquisition)
and is further underwritten by annual gifts from
Friends of the Addison. The Addison establishes
a general operating budget within the Phillips
Academy overall budget.
The figures below reflect gifts allocated to fiscal
year 2011, not gifts actually received in FY11. The
figures are rounded to the nearest dollar and have
not been prepared by an accountant. Per accepted
standards of the museum profession, the art
collection is not listed as a financial asset.
Expenditures in FY11 increased by 63 percent
over FY10 due to the museum’s post-renovation
schedule and the unique opportunity to
acquire significant works of art.
Funds
Earned Income ...............................................$ 204,988
includes visitor donations,
gift shop sales, loan fees, event fees,
royalties, and photo reproduction fees
State Grants .......................................................... 8,460
Gifts ................................................................1,394,549
includes art acquisitions funds,
membership gifts, and gifts
for special projects
Endowment ...................................................... 2,112,744
PA Allocation....................................................... 60,000
TOTAL ..............................................................$ 3,780,741
Expenditures
Programs .......................................................$ 1,702,644
includes exhibitions, artist-in-residence,
education, administration, development,
public programming, public relations and
advertising, gift shop, preparation,
building, and security
Salary ............................................................ 1,093,849
Benefits............................................................. 261,728
Art Acquisition ................................................... 722,520
TOTAL ..............................................................$ 3,780,741
John F. Peto, Office Board for Smith Brothers Coal Company, 1879,
oil on canvas, museum purchase, 1956.13
MISSION STATEMENT
The Addison Gallery of American Art, as a
department of Phillips Academy, Andover,
Massachusetts, is an academic art museum
dedicated to the collection of American art.
The museum’s purpose is to acquire,
preserve, interpret, and exhibit works of
art for the education and enjoyment of
local, regional, national, and international
audiences, including the students, faculty,
and community of Phillips Academy, and
other students, teachers, scholars, and
the general public.
80
Anniversary
36
ADDISON STAFF
Susannah Abbott
Director of Development
Richard Kiberd
Security Officer
Brian Allen
The Mary Stripp and
R. Crosby Kemper
Director
Leslie Maloney
Chief Preparator and
Building Manager
Julie Bernson
Curator of Education
Brian Coleman
Preparator
Anthony Connors
Security Manager
Kathleen Connors
Visitor Services
Roger Cowley
Security Officer
Jaime DeSimone
Assistant Curator
Elaine Doucette
Visitor Services
Susan Faxon
Associate Director
and Robert M. Walker
Curator of Art
Before 1950
Anna Gesing
Administrative Assistant
and Museum Shop
Supervisor
John Jeknavorian
Security Officer
Denise Johnson
Registrar and Financial
Administrator
Jamie Kaplowitz
Education Associate and
Museum Learning Specialist
Allison Kemmerer
Curator of Photography
and of Art After 1950
37
VISIT
Dolores Mann
Visitor Services
Juliann McDonough
Curatorial Coordinator
Barbara O’Sullivan
Visitor Services
Caroline Pisani
Development
Administrative
Assistant
Gilda Rossetti
Security Officer
Jason Roy
Assistant Preparator
Jeffrey Schlothan
Custodian
Austin Sharpe
Director of Security
James Sousa
Associate Registrar
for Collections and
Archives
The Addison Gallery of American Art is
located on the campus of Phillips Academy
at the corner of Route 28 (Main Street) and
Chapel Avenue in Andover, Massachusetts,
a 30-minute drive from Boston. The museum
is free of charge and is open to the public.
HOURS:
Tuesday through Saturday, 10 a.m.–5 p.m.
Sunday, 1–5 p.m.
The museum is closed Mondays, national
holidays, December 24, and the month
of August.
The museum is wheelchair accessible.
For more information, including parking and
directions, visit www.addisongallery.org
and click “Visit Us.”
Janet Thoday
Visitor Services
Charles Wilkinson
Security Officer
Katherine Ziskin
Education Fellow for
School and Community
Collaborations
As of September 2011
80
TH
ADDISON
Addison Gallery of American Art
80
Anniversary
A
niversar
ADDISON GALLERY OF AMERICAN ART
PHILLIPS ACADEMY 180 MAIN STREET, ANDOVER, MASSACHUSETTS 01810
A D D I S O N G A L L E RY. O R G
978.749.4015

addison - Phillips Academy

Transcription

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