Full Circle: Works on Paper by Richard Pousette-Dart
September 13–November 30, 2014
Lynne and Harold Honickman Gallery and Muriel and Philip Berman Gallery
Full Circle will survey works on paper from the career of Richard Pousette-Dart, one of the twentieth-century’s most creative draftsmen. The exhibition will focus on the artist’s remarkably varied use of materials and techniques as well as on the evolution of the imagery that he created in many different styles over the course of nearly seven decades. Seeking “to express the spiritual nature of the universe,” Pousette-Dart was associated with Abstract Expressionists during the 1940s, with whom he exhibited in the New York galleries. In the 1960s, he developed a method of creating glowing auras of light by using carefully modulated dots of color. His works on paper from about 1976 to the end of his career reveal myriad new approaches to radiant imagery along with an incredible diversity of materials that he often employed in novel combinations: evocative graphite drawings touched with white paint; delicate hand-colored etchings; bold black-and-white paintings of geometric forms; and colorful acrylics on handmade paper. The exhibition will include about sixty of the finest examples of Pousette-Dart’s works on paper, on loan from the artist’s estate and other public and private collections.
The exhibition is generously supported by The Robert Montgomery Scott Fund for Exhibitions. The accompanying publication is supported by The Andrew W. Mellon Fund for Scholarly Publications at the Philadelphia Museum of Art.Press Images
Paul Strand: Master of Modern Photography
October 21, 2014–January 4, 2015
This major retrospective is devoted to the work of photographer and filmmaker Paul Strand, a critical figure in the history of modern art, whose archive of more than 4,000 prints came to the Museum in 2010 and now stands as a cornerstone of the collection. The exhibition will survey Strand’s entire life’s work, emphasizing his most important projects of every decade from the 1910s through the 1960s. It will include approximately 250 of his finest prints, selected primarily from the Museum’s holdings, with loans of twenty to thirty key early prints from other public and private collections. It will also feature ten to fifteen works by Strand’s fellow artists from the Alfred Stieglitz circle, and a selection of archival materials.
The international tour is organized by the Philadelphia Museum of Art in collaboration with Fundación MAPFRE and made possible by the Terra Foundation for American Art.
In Philadelphia, the exhibition is supported by The Annenberg Foundation Fund for Major Exhibitions, The Horace W. Goldsmith Foundation, The Robert Mapplethorpe Foundation, Lynne and Harold Honickman, Veritable, LP, The PepsiCo Foundation, Jeffrey A. Beachell, Leigh and John Middleton, Mr. and Mrs. Stewart A. Resnick, Constance and Sankey Williams, The Women’s Committee of the Philadelphia Museum of Art, John Alchin and Hal Marryatt, Lois G. and Julian A. Brodsky, Steve and Gretchen Burke, David and Julia Fleischner, Mr. and Mrs. Robert A. Fox, Mr. and Mrs. Berton E. Korman, Ira M. Lubert, Lisa D. Kabnick and John H. McFadden, Bruce and Robbi Toll, an anonymous donor, and other generous supporters.
In-kind support provided by Pace/MacGill Gallery.
The accompanying publication is supported by Lynne and Harold Honickman and The Andrew W. Mellon Fund for Scholarly Publications at the Philadelphia Museum of Art.
The acquisition of The Paul Strand Collection was made possible through the leadership support of Lynne and Harold Honickman, Marjorie and Jeffrey Honickman, and Marguerite and Gerry Lenfest; and with contributions from The Annenberg Fund for Major Acquisitions and The Henry P. McIlhenny Fund in Memory of Frances P. McIlhenny, The John D. McIlhenny Fund, Barbara and Theodore Aronson, the Horace W. Goldsmith Foundation, Lois G. and Julian A. Brodsky, Annette Y. and Jack M. Friedland, Zoë and Dean Pappas, Andrea M. Baldeck, M.D., and William M. Hollis, Jr., Thomas Callan and Martin McNamara, Constance and Sankey Williams, Betty and Harry Gottlieb and family, Ruth and Peter Laibson, The Robert Mapplethorpe Foundation, Bonnie and Peter McCausland, and an anonymous donor, as well as through the generosity of Cynthia B. Holstad, The Women’s Committee of the Philadelphia Museum of Art, Donald V. Selkow and Lynne Clibanoff, Anne R. Albright and Trevor R. Drake, Jill and Paul Aschkenasy, Ralph Citino and Lawrence Taylor, Sally and Timothy Rub, Innis Howe Shoemaker, and many other generous individuals, and through funds raised from deaccessioned works of art.Press Images
Vitra: Design, Architecture, Communication: A European Project with American Roots (working title)
November 22, 2014–April 26, 2015
Collab Gallery, Perelman Building
This exhibition will showcase the innovative design of the Swiss family-owned furniture company through its products, models and materials studies, drawings, photographs, and videos. Project Vitra began in 1957 when the company’s founders, Willi and Erika Fehlbaum, began to produce furniture by American designers Charles and Ray Eames and George Nelson. Under the direction of Chairman Rolf Fehlbaum, the Eameses’ understanding of design as the “recognition of need,” their warning against “stylistic excess,” and their ability to create unique, individual solutions have continued to define Project Vitra’s parameters. Today, Vitra has become one of the most innovative design firms in the world, renowned for its products, its commitment to education, and the architecture of its own buildings in Basel and Weil am Rhein.
Art from the African American Collections (working title)
Lynne and Harold Honickman Gallery and Muriel and Philip Berman Gallery
This exhibition will highlight the Museum’s collection of works by African American artists. Established in 1899 with the acquisition of Henry Ossawa Tanner’s painting The Annunciation, the Museum’s holdings in this area have expanded significantly, especially through purchases and gifts made during the past twenty-five years. The exhibition will span more than two centuries—from the early 1800s to the present—and encompass a wide range of media and styles, reflecting both the expansion of scholarship in this field and the increasing visibility of these artists.
A major catalogue of highlights from the Museum’s holdings of work by African American artists will expand on the exhibition with thematic essays, extended object entries, and spotlights on the collection’s greatest strengths. The exhibition will also be accompanied by a full range of public programs and educational resources, including community events in celebration of Martin Luther King, Jr. Day.Press Images
Ink and Gold: Art of the Kano (working title)
Ink and Gold is devoted to the works of a remarkable lineage of painters in Japan, originally patronized by the shoguns, powerful military rulers. The Kano artists produced large screens and doors designed to enhance the impressive castles and estates of elites, as well as intricate scrolls, albums and fans, many of which are designated important cultural properties rarely seen outside Japan. The exhibition will show the Kano evolution of nearly five centuries from a family studio established in the fifteenth century by Kano Masanobu into a prestigious school of professional artists who trained and set the standard for generations. While the influence of Chinese art was strong in earlier centuries, in the late nineteenth century Kano-trained artists adapted techniques and ideas newly introduced from the West. With the special cooperation of the Tokyo National Museum and assistance from the Agency for Cultural Affairs in Japan, Ink and Gold is drawn primarily from Japanese collections, with additional loans, including key works from the Philadelphia Museum of Art.
This exhibition is made possible by the E. Rhodes and Leona B. Carpenter Foundation, with additional generous support provided by Maxine S. and Howard H. Lewis, Toshiba Corporation, Toshiba International Foundation, and The Japan Foundation. The accompanying publication is supported in part by The Women’s Committee of the Philadelphia Museum of Art.
The exhibition is organized by the Philadelphia Museum of Art in cooperation with the Agency for Cultural Affairs, Japan, and the Tokyo National Museum.