Thank you to everyone who joined us for a wonderful Opening Reception earlier this month! With all exhibitions now open, we are excited to share a new slate of programs related to our spring shows. From family programs to a virtual tour with a curator, as well as hands-on workshops, there is something for everyone. Read on for details!
The Addison is free and open to the public, Tuesday through Saturday, 10:00 am–5:00 pm, and Sunday, 1:00–5:00 pm.
|
|
| |
|
FAMILY PROGRAM: Picture Book Studio
Saturday, March 28, 10:30 am–12:00 pm
Join us for a morning of art, picture books, and hands-on activities designed for children ages 5 to 8. We will explore shape, line, and color in Both Sides of the Line: Carmen Herrera & Leon Polk Smith and Little Boxes and create our own abstract artworks.
This program is free but space is limited and registration is required. Children must be accompanied by an adult.
|
|
|
|
|
VIRTUAL TOUR: Parasol Press: Breaking New Ground
Wednesday, April 15, 3:00 pm
Join curator Rachel Vogel on Zoom to explore the exhibition. Parasol Press’s remarkable publications (1970–2014) showcased radical innovations that pushed the boundaries of printmaking.
This free program is presented in partnership with Andover’s Memorial Hall Library; registration is required.
|
|
|
WORKSHOP: Rubber Stamp Portfolio
Saturday, April 25, 1:00–2:30 pm
Following curator Rachel VogeI's introduction of Parasol Press’s Rubber Stamp Portfolio, workshop participants will create prints using a variety of rubber stamps and inks. The workshop will conclude with a print swap, inviting participants to exchange works and assemble their own portfolio to take home.
This free program is open to adults and participants in high school and up. Space is limited and registration is required.
| | |
|
Artist, Printer, Publisher:
Panel Discussion with Caira Art Editions
Saturday, May 2, 1:00–2:30 pm
|
What is the role of a print publisher? Lucy Rosenburgh, founder of Cambridge-based print publisher Caira Art Editions; master printer Bryan Smith of Stone Hill Press; and artists Alison Croney Moses and Daniela Rivera will demonstrate the collaboration between artist, printer, and publisher, and show the process of developing an edition from initial concept to technical realization. The program accompanies the exhibition Parasol Press: Breaking New Ground and will be moderated by curator Rachel Vogel.
This free event is open to the public and presented in partnership with Andover’s Memorial Hall Library; space is limited and registration is required.
|
| |
|
Images: view of Both Sides of the Line: Carmen Herrera & Leon Polk Smith, photo by Susan Golden; Family program at the Addison, photo by Addison staff; Wayne Thiebaud, Big Suckers (detail), from Seven Still Lifes and a Rabbit, 1971. Aquatint and soft ground etching. Fine Arts Museum of San Francisco, Crown Point Press Archive, Gift of Crown Point Press, 1991.28.1172. © 2026 Wayne Thiebaud Foundation / Licensed by VAGA at Artists Rights Society (ARS), New York, Photo: Private Collection/Christie's Images/Bridgeman Images; Don Nice, Bear with Predella, from Rubber Stamp Portfolio, 1976, published 1977. Rubber stamp print on Arches Satine, 8 x 8 inches; Alison Croney Moses (left) and Lucy Rosenburgh (right) editioning Croney Moses’s first print at Stone Hill Press, courtesy photo; Sol LeWitt, Bands of Color in Four Directions & All Combinations, 1971. Portfolio of 16 etchings. Collection of Jordan D. Schnitzer. © 2026 The LeWitt Estate / Artists Rights Society (ARS), New York; Photo: Courtesy of Krakow Witkin Gallery, Boston; Carmen Herrera, Cadmium #4, 1965, acrylic on canvas, 48 x 48 inches, Collection of The Newark Museum of Art, Gift of Mr. and Mrs. Henry Feiwel, 1970, 70.87. Image courtesy The Newark Museum of Art, © Estate of Carmen Herrera; Stanley Whitney, See see Love, 2021. Oil on linen, 72 x 72 inches. Purchased as the gift of Carol Sutton Lewis and William M. Lewis, Jr. (PA 1974), Roger E. Kass (PA 1979, P 2019) and Andrea van Beuren (P 2019), and Agnes Gund with support of the African American Art Acquisition Fund, 2022.22; Margaret Bourke-White, Looking Up Inside Sending Tower, N.B.C., Bellmore, L.I., 1933. Gelatin silver print, 12 5/8 x 10 1/4 inches. Museum purchase, 1934.51; Winslow Homer, Boys in a Dory (detail), 1880. Watercolor and graphite on wove paper, 13 3/4 x 19 1/2 inches. Gift of anonymous donor, 1931.6; Martin Puryear, Untitled II, 2002. Color spitbite aquatint with hardground etching, drypoint, and chine collé. Printed and published by Paulson Bott Press. Gift of William M. Drake, Jr. (PA 1950) and JoAnn Carney Drake, 2025.163; Mickalene Thomas, Portrait of Lyfe, 2020, archival pigment print, 60 x 48 inches. Purchased as the gift of Katherine D. and Stephen C. Sherrill (PA 1971, and P 2005, 2007, 2010), 2021.137
|
|
|
Exhibition credits:
Generous support for Parasol Press: Breaking New Ground has been provided by the Sidney R. Knafel Fund and the Stone Family, in honor of Allan Stone (PA ’50, P ’87).
Lead support for Both Sides of the Line: Carmen Herrera & Leon Polk Smith is provided by Irving Stenn, Jr., Lizzie and Jonathan Tisch, Luptak Family Foundation, the National Endowment for the Arts, and the University of Michigan Office of the Provost. Additional generous support is provided by the Robert Lehman Foundation. Support for the exhibition catalogue and programming is provided by Tony Bechara and the Leon Polk Smith Foundation. This exhibition is organized and circulated by the University of Michigan Museum of Art. The Addison’s presentation is generously supported by the Elizabeth and Anthony Enders Exhibitions Fund.
Generous support for Little Boxes has been provided by the Winton Family Fund.
Playing to Our Strengths: Highlights from the Permanent Collection is generously supported by the Mollie Bennett Lupe & Garland M. Lasater Exhibitions Fund.
Martin Puryear: In Print is part of a recent gift from William Drake (PA 1950) and JoAnn Carney that also includes prints by Mary Lee Bendolph, McArthur Binion, Willie Cole, and Stanley Whitney.
Generous support for In Focus: Winslow Homer: Watching, Waiting has been provided by The Bernard and Louise Palitz Exhibitions Fund.
|
|
|
|
