HAPPY NEW YEAR!
We begin 2023 with exciting new exhibitions and programs. Earlier this month we opened an installation of work created by Lavaughan Jenkins during his recent residency at the Addison, and this weekend we will debut Women and Abstraction: 1741–Now, which features works from the collection that invite the viewer to draw connections across media and time, challenging ingrained notions of what abstraction is and is not. Next month, we are looking forward to presenting Alison Elizabeth Taylor: The Sum of It and celebrating the winter season with a public opening reception.
Reminder: both Harry Benson: Four Stories and the permanent collection installation will close this Sunday!
The Addison remains free and open to the public, Tuesday through Saturday, 10:00 am to 5:00 pm, and Sunday, 1:00 to 5:00 pm. We look forward to seeing you!
|
|
|
|
Harry Benson: Four Stories
closes January 29
This exhibition focuses on four powerful photo stories from the 1960s by Harry Benson: building the Berlin Wall, the James Meredith March, the Beatles’ arrival to the USA, and the assassination of Robert F. Kennedy.
|
|
|
|
Selections from the Permanent Collection
closes January 29
Chosen by the Addison’s curatorial team, these paintings, prints, drawings, and sculptures from the 19th century to the present represent the breadth and strengths of the museum’s permanent collection.
|
|
|
Lavaughan Jenkins: Edward E. Elson Artist-in-Residence | through July 30
This focused installation provides a glimpse into the impressive body of work that Boston-based artist Lavaughan Jenkins produced during his six months as the Addison’s Edward E. Elson Artist-in-Residence in 2022. Jenkins continuously works and reworks his compositions, creating sculptural paintings that push the boundaries of the medium. These exciting new works build on the artist’s ongoing quest to redefine painting and pay homage to the Black women who have made an impact on him personally as well as the larger world.
|
|
|
Women and Abstraction: 1741–Now | January 28–July 30
Comprised almost entirely of works from the collection, this exhibition explores how women have deployed the visual language and universal formal concerns of abstraction—color, line, form, shape, contrast, pattern, and texture—to create works of art across a wide variety of media from the 18th century to the present day.
|
|
|
Alison Elizabeth Taylor: The Sum of It
February 18–July 30
Consisting of approximately forty large-scale single panel works as well as a room-sized installation, this exhibition chronicles the artist’s steady mastery of marquetry, the centuries-old art of wood inlay, and reveals her talent as an extraordinary storyteller and chronicler of 21st-century American culture.
|
| |
|
OPENING RECEPTION FOR THE WINTER EXHIBITIONS
Saturday, February 18, 5:00–7:00 pm
Join us and artists Alison Elizabeth Taylor and Lavaughan Jenkins for a festive evening to celebrate the new exhibitions.
|
|
|
VIRTUAL TALK
New Perspectives: The Collection in Dialogue
Part 2: Spirituality and Religion in American Art
Tuesday, February 21, 6:00 pm
|
|
|
For the second lecture in the series New Perspectives: The Collection in Dialogue hosted by Tanya Sheehan (PA 1994), Robert Cozzolino (Minneapolis Institute of Art) and Erika Doss (University of Notre Dame) will use works from the Addison’s collection as a springboard for discussion about spirituality and religion in American art.
|
| |
|
ARTIST TALK
Lavaughan Jenkins
Sunday, February 26, 2:00 pm
Lavaughan Jenkins will discuss his art and the work he created during his six months as an Edward E. Elson Artist-in-Residence at the Addison. The program will take place in the Museum Learning Center; light refreshments will be served. Space is limited and registration is required.
|
| |
|
Images:
Addison Gallery exterior, Addison staff; Harry Benson, John Lewis, Dr. Martin Luther King, Jr., & Ralph Abernathy singing “We Shall Overcome” on the James Meredith March Against Fear, Mississippi, June 1966, gelatin silver print, 24 x 30 inches. Courtesy of the artist and Gigi Benson, © Harry Benson; John Henry Twachtman, Country House in Winter, Cos Cob, c. 1901, 25 x 25 inches, oil on canvas mounted on panel, gift of anonymous donor, 1931.14; Lavaughan Jenkins, One time for the big girls, 2022, oil on panel, 30 1/8 x 22 5/8 x 2 1/2 inches, courtesy of the artist; Lavaughan Jenkins, Track 5. Juicy fruit from Love Portals, 2022, oil on paper, courtesy of the artist; Lavaughan Jenkins, You kiss the same, 2022, oil on panel, 30 1/8 x 22 5/8 x 2 1/2 inches, courtesy of the artist; Phoebe Denison Billings, Bed Rug, 1741, wool worked on wool ground, 95 x 93 1/2 inches, bequest of Henry Perkins Moseley, 1940.25; Georgia O'Keeffe, Wave, Night, 1928, oil on canvas, 30 x 36 inches, purchased as the gift of Charles L. Stillman (PA 1922), 1947.33; Alma Thomas, Ruth Kainen's Amaryllis, 1976, acrylic on canvas, 40 1/4 x 35 inches, bequest of Ruth Kainen, 2010.109; Alison Elizabeth Taylor, Only Castles Burning…, 2017, marquetry hybrid: wood veneer, acrylic, pigment print, and shellac, 58 x 63 inches. Bill and Christy Gautreaux, Kansas City, MO. Photo credit: Courtesy Alison Elizabeth Taylor and James Cohan Gallery, NY; Lotte Jacobi, Photogenic, c. 1953, photogram, gelatin silver print, 10 x 7 15/16 inches, gift of Julia and Christopher C. Cook, 1986.42; Lavaughan Jenkins, Morning Sunrise, 2022, oil on panel, 30 1/8 x 22 5/8 x 2 1/2 inches, courtesy of the artist; Alison Elizabeth Taylor, Jolene, 2019, marquetry hybrid: wood veneer, oil, acrylic, and shellac, 58 x 44 1/2 inches, museum purchase in honor of Judith F. Dolkart, 2020.64, photo credit: Courtesy Alison Elizabeth Taylor and James Cohan Gallery, NY; Mark Tobey, Eventuality, 1944, tempera on paper mounted on board, 10 x 14 15/16 inches, bequest of Edward Wales Root, 1957.37; Lavaughan Jenkins, Australian open, 2022, oil on panel, 30 1/8 x 22 5/8 x 2 1/2 inches, courtesy of the artist.
Exhibition and program credits:
Harry Benson: Four Stories is generously supported by Eileen and Jonathan Otto ’75, P’24.
Generous support for Lavaughan Jenkins: Edward E. Elson Artist-in-Residence has been provided by the Edward E. Elson Artist-in-Residence Fund.
Generous support for Women and Abstraction: 1741–Now has been provided by the Mollie Bennett Lupe and Garland M. Lasater Exhibition Fund and the Helen Frankenthaler Foundation.
Alison Elizabeth Taylor: The Sum of It is generously supported by the Sidney R. Knafel Fund and the Sherrill Collection of American Art Foundation. The accompanying publication has been generously supported by David and Pamela Hornik and the Michael and Fiona Scharf Publications Fund.
Generous support for the "New Perspectives: The Collection in Dialogue" lecture series has been provided by the Lana Lobell Fund and the Alumni/Alumnae Lectureship Fund.
|
|
|
|
