“Bride,” 1912, Marcel Duchamp, American (born France), 1887 – 1968. Oil on canvas, 35 1/4 x 21 7/8 inches (89.5 x 55.6 cm). Philadelphia Museum of Art, The Louise and Walter Arensberg Collection, 1950. © 2012 Artists Rights Society (ARS), New York/ ADAGP, Paris/Succession Marcel Duchamp. On view in the exhibition “Dancing around the Bride: John Cage, Merce Cunningham, Jasper Johns, Robert Rauschenberg, and Marcel Duchamp” at Philadelphia Museum of Art through Jan. 21, 2013.
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Friday, October 26, 2012
gallery happenings
Established in 2003, the Upstairs Studio Artists Cooperative was created to promote, support and celebrate the artistic, cultural and creative spirit that is present in the hearts of all humankind and desires to be inspired and expressed. We experiment with different and individual ways to develop our imagination and challenge the viewer as we continue to emerge as talented artists always in process. We encourage visual artists who thrive in a group environment, who are community-oriented and are willing to extend their personal and professional talents to our collective effort, to join us and share our vision.
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The artistry of PAFA’s architectural geniuses T
he main building of the Pennsylvania Academy of the Fine Arts at Broad and Cherry is now 140 years old and the drawings and sketches of its architects, Frank Furness and George Hewett, are on display until Dec. 30. Thirty-two architectural drawings document the evolution of the building as part of a celebration of the 100th year since Furness died. As visitors enter the main PAFA building and ascend the grand staircase, they see the walls of the second floor gallery and a side gallery, where the delicate intricate drawings of Furness and Hewett are displayed on yellowed drawing paper preserved under glass. Through the black ink, drawings are directions written in careful handwriting in red by the architects. The first reaction in seeing the drawings and directions is how artfully drawn and delicate the work is. It seems remote from the drawings today that are often produced by architects using computer programs. On the other hand, the 19th century architects did not have to become involved with many of the environmental and engineering concerns that today’s architects have to deal with. Furness was 32 and Hewett was 30 in 1871 when they won the competition to design the third version of the museum. The board of directors had chosen a site on Broad Street where a 250-foot facing flank would allow the indirect lighting that artists preferred. One of Furness’ directions in explaining his work and the need for the atrium in the rotunda (the main
gallery) was that the filtered natural light would facilitate the viewing of art. At the time, this was a novel approach in the shaded, semi-lighted museums of the day. According to Anne Marley, PAFA’s staff curator of the exhibit, this is the first time the drawings and sketches of the building are being shown to the public and removed from storage in the archives. “One of the exciting things was showing Furness drawings of the inside and the outside of the building that the public of the day could see on a stenograph,” she said. Marley explained that the stenograph is a device that allows a three-dimensional view of a picture and that it preceded motion pictures. It was very popular in its day. The drawings displayed in the rotunda receive the benefits of natural light. The others must be artificially lighted. Marley explained that it was a challenge to display some of the more fragile drawings so that they would not be damaged by light, even though they are framed with a glass cover. The ink and watercolor drawings that Furness and Hewett designed to win the competition to design the museum in the 1870s are well worth seeing. Furness and Hewett related their design to American industry, which was burgeoning at the time. The design of the building’s exterior exposed the great iron truss that holds up the second floor. A large rose window shines out over Broad Street, showing cathedral glass above the entry lobby lined with tile work. According to Harry Philbrick, the director of PAFA,
Drawing of a longitudinal section of the center of the museum by Furness and Hewett.
the museum is “still functioning as it was designed 140 years ago.” The exhibit catalogues the process involved in constructing the main PAFA building and catalogues its basis in factory designs, using engineering and steel construction. Furness and Hewett looked towards the future in designing the building. The drawings show that they planned for electricity in the building that opened five years before an electric company opened in Philadelphia. The drawings also show that the building depended on structural steel I-beams. The skylight ground floor studio spaces are made possible by a massive steel truss running the length of the north side of the building. This truss supports the north side of the building and allows a curtain wall on the lower north wall. Today’s skyscrapers depend largely on curtain walls, a fact that shows how progressive Furness and Hewett were. Showing the relationship between modern architecture and Furness and Hewett, the exhibit details how Louis Sullivan began working in their office and
then in his own office in later years. Sullivan hired Frank Lloyd Wright. Other Furness and Hewett associates included George Howe and William Price.
A three-dimensional drawing of the Pennsylvania Academy of the Fine Arts’ façade by Furness and Hewett.
— This is a monthly Diane Fiske can be reached column about architecture, at dfiske_19118@yahoo. city planning and landscape com. design. Questions and comments would be welcome.
The Community Arts Center & The Potters Guild
THE BEST
HOLIDAYSALE
EVER!
By Diane M. Fiske
December 1 – 8, 2012 opens daily at 10 a.m. • closes weekends at 5 p.m., weekdays at 8 p.m.
at the COMMUNITY ARTS CENTER 414 Plush Mill Road, Wallingford, Pennsylvania
610-566-1713 • www.cacholidaysale.org
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State
of the
Art
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A Biography in Wood
aging our artists to By Adam Crugnale push the envelope,” here are three things said the the Wharton Esherick museum’s Museum prizes most: executive craftsmanship, functionaldirector ity, and most importantly? and curator, Creativity. Paul EisenFinding new ways to cre- hauer. “We ate familiar things — chairs, look for bookshelves, you name it — folks who is what Wharton Esherick, really think the artist the museum takes outside the as its namesake, was all box and can about. Examples of these show this three essentials are promicapacity for nently attested to with the creativity museum’s current exhibit, in their sculptures. They “Sticks and Stones,” its haven’t let us down yet.” 2012 annual woodworkers’ “Sticks and Stones” is competition. juried by Albert LeCoff, a The juried installation member of the museum’s began on Sept. 9 with more board and the co-founder than 120 submissions. It and executive director at will run through Dec. 31 the Center for Art in Wood, with entry numbers now a Philadelphia-based musewhittled down to 27 finalum and outreach program; ist pieces. They include Mansfield Bascom, who delicate jewelry such as has written a biography bracelets and necklaces and (this being the sort that’s other ornamental entries, as read) about the creative, well as a few that lean more wooden mind of Esherick; toward the abstract. A pair and scholar and fine crafts of enticing lips and a mask collector Helen Drutt. reminiscent of an opera Reservations are required ghost’s come to mind. for tours, which are all “We are always encourguided and include an ap-
Friday, October 26, 2012
T
A view of Esherick’s studio.
Wharton Esherick’s famous wooden spiral staircase. Photo by James Mario.
— an experience Eisenlandscape and not dominate hauer feels to be lost to most it.” museums today. Images from the exhibit “It’s all about the experi- can be found on the museSculpture by Ally Crow in ence here,” um’s website, proximately hourlong walk- “Sticks and Stones” exhibition. said Eisenwww.wharIf You Go through of the museum. As hauer. “The tonesherickthe museum is relatively lived through 1970. He is museum is museum.org, “Sticks and Stones” compact, group sizes will known as the link between his biograas well as is on view at the Wharton reflect this. Groups typically the arts and crafts movephy; he really more info on Esherick Museum, consist of 10 people, Monment and the revival in poured his the artist and 1520 Horseshoe Trail, Malvern, PA 19355, day through Friday, which furniture-making after the heart and soul past/upcomthrough Dec. 31. allows the tour guides to Second World War. The into it. You ing shows. Free to the public provide a very hands-on, studio also serves as a way can feel his Be a part of in the visitor’s center. personal experience. of witnessing Esherick’s de- presence in the Wharton General admission: $12; “We are in a unique posi- velopment as an artist, from the studio, the Esherick under 12; $6. tion here,” said Eisenhauer. Cubism and Expressionism love and care Museum’s Reservations required. “Esherick’s heirs kept his to more rounded free-form he put into landscape. Hours: home very much intact. It’s works that defined his later everything he The exhibit Monday - Saturday, all the way it was when he creations. touched. promises to 10 a.m. - 5 p.m. & Sunday, 1 - 5 p.m. was working here.” ObThis studio now serves “Esherprovide an Info: 610-644-5822. serving the museum from as the museum, and its staff ick was inspiring day outside, it seems to fit right works to preserve it as best influenced and a chance in with the surrounding it can. Folks are treated to by nature,” to learn more woodland. the studio in all its original- Eisenhauer went on. “He about a local artist who For those unfamiliar with ity, much as Esherick might felt the design of something saw more in wood and the the artist, Esherick was born have. Nothing is under glass — in this case, his studio furniture he made than most in the late 19th century and and all is subject to touch — should be a part of the others ever will.
Sculpture by Julia Harrison in the “Sticks and Stones” exhibition.
Friday, October 26, 2012
CALL FOR ENTRIES LBIF's Annual Juried Small Works Exhibition Entry Deadline: November 4 Juror: Jeff Guido, Artistic Director at The Clay Studio in Philadelphia, PA. Size Requirement: 2D work must be no larger than 12 x 12”. 3D work must be no larger than 8 x 8 x 8”. For more information, please view the prospectus at: http://lbifoundation.org/programs/small%20 works%202012.pdf
CALL FOR ARTISTS
A Great Opportunity for artists to exhibit and sell their work in 2 nationally recognized juried Art shows Friday - Sunday 28th Annual Fine Art Show
June 7 - 9, 2013 Friday - Sunday 82nd Annual Fine Art Show
Sept. 20-22, 2013 Application and Information is available online at: rittenhousesquareart.org Deadline: must be postmarked by
January 7, 2013
You can also contact us at:
610-299-1343
or RittenhouseArt@aol.com
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Cool Studio/Office Space in Renovated Factory In Reading, PA Rates starting at $300 610-236-0680 www.readingartworks.com
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• • • CALL FOR ENTRIES • • •
Center for the Arts in Southern New Jersey CFA/SNJ
CFA/SNJ “Family Traditions & Memories” Theme Exhibition December 3 - 21, 2012 For prospectus to exhibit send SASE to: CFA/SNJ, 123 S. Elmwood Rd., Marlton, NJ 08053 Telephone: 856-985-1009
CALL FOR ARTISTS!
GoggleWorks Center for the Arts 2013 Juried Exhibition Home: Interpreting the Familiar Grand Prize: solo show in the Cohen Gallery at GoggleWorks Center for the Arts, the country’s largest, most comprehensive interactive arts center. Cash prizes for first, second & third place. Open to all media. Each artist may submit up to 3 works for $35. Juror: Genevieve Coutroubis, award winning photographer and Director, The Center for Emerging Visual Artists, Philadelphia, PA.
CALL FOR ARTISTS MONTGOMERY COUNTY GUILD OF PROFESSIONAL ARTISTS (MCGOPA) CALL FOR ARTISTS ANNUAL FALL JURIED SHOW Exhibit Dates: November 5 - Dec 1, 2012. Juried for Entry and Prizes. Juror: Lisa Tremper Hanover, Director & CEO of the James A. Michener Art Museum See prospectus at www.MCGOPA.org for submission info.
Deadline: December 21, 2012. Exhibition: May 11 – June 23, 2013 Prospectus: www.goggleworks.org/ Exhibitions/Call-for-Artists/. 201 Washington St., Reading, PA, 19601, 610.374.4600
Your resource for finding artists, soliciting entries, renting art studious and for promoting your service. For more information call 215-628-9300, ext. 226
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‘Dancing around’ explosions of creativity!
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“Not Wanting to Say Anything about Marcel,” 1969. John Cage, American, 1912-1992. Plexigram (comprising eight silk screened plexiglas panels and one walnut base), 14 x 20 x 1/8 inches (35.6 x 50.8 x 0.3 cm; Base: 36 13/16 x 61 x 1 7/8 inches (93.5 x 154.9 x 4.8 cm). Philadelphia Museum of Art. © The John Cage Trust.
H
“The Bride Stripped Bare by Her Bachelors, Even (The Large Glass),” 1915-23. Marcel Duchamp, American (born France), 1887 – 1968. Oil, varnish, lead foil, lead wire and dust on two glass panels, 109 1/4 x 70 x 3 3/8 inches (277.5 x 177.8 x 8.6 cm). Philadelphia Museum of Art, Bequest of Katherine S. Dreier, 1952. © 2012 Artists Rights Society (ARS), New York/ ADAGP, Paris/Succession Marcel Duchamp.
e was like three people living in one body. A source of thoughtful controversy, provocative accomplishment and dynamic inspiration, few other creative artists of the 20th century compare with Marcel Duchamp! His various two-and three-dimensional masterworks continue to provoke discussion about the nature of significant art, the identity of the artist and the substance of the media available for an aesthetic realization. Judged as a profound agent of change, his role in the canon of modern art continues to be as vital and challenging today as it was during his lifetime. Support for all of these claims is provided by a richly rewarding exhibition currently installed at the Philadelphia Museum of Art. Titled “Dancing around the Bride: Cage, Cunningham, Johns, Rauschenberg and Duchamp,” it includes incisive examples of work by all the individuals named in the title of the show. It will remain there until Jan. 21. Almost all of Duchamp’s notable accomplishments, such as the several paintings of the “Nude Descending a Staircase” group and the ready-made sculpture, appropriated from a men’s room plumbing fixture called “Fountain,” were initially viewed by many spectators as compositional heresies. This fact reminds us of the curious cultural lag that often exists between an artist’s fertile conception and the catch-up time it takes for all or part of the public to value what it failed to recognize when the artwork was first brought into being. Organized by Carlos Basualdo of the museum’s curatorial staff, the show
bition, continues Parreno. He is responsible for developconstruct called “With Hidden Noise.” After the exhibition closes, the book to be highly Merce Cunningham in “Walkaround Time,” 1968. Choreography by Merce Cunningham, American, 1919-2009. Stage set and costumes by Jasper Johns, relAmerican, b. 1930. Photograph © 1972 by James Klosty. evant to the dynamic structures ing the staging of the various elements The last area of expreswill be an exceptionof collaboration still with each other. His past film and space sive interaction deals with al reference volume If You Go “Dancers on a Plane,” 1979. Jasper Johns, American, b. 1930. being explored by programming experience have equipped Duchamp’s attachment to the and souvenir of the entire undertaking. Oil on canvas with objects, 77 7/8 x 64 inches (197.8 x 162.6 cm). various serious artists him for such an assignment because the game of chess. Here, assorted today.” combination of sight, sound and light references are combined with Co-published by the Collection of the artist. © Jasper Johns/Licensed by VAGA, New The museum is play important parts in the total organi- his famous “Pocket Chess Set” “Dancing around the museum and the Yale York, N.Y. Bride: Cage, Cunning- University Press, it especially wellzation of the exhibition and its fruitful of 1943. ham, Johns, equipped for dealing conjunction of art and life. Complementing the items on is available in the Rauschenberg and focuses on Duchamp’s involvement with with this issue because it holds the largThe presentation has been arranged exhibition, the museum is also Museum Book and Duchamp” relationships he explored between mak- est and most important accumulation of into four thematic sections. The first, presenting a program of live Gift Shop and from ing art, on the one hand, and life at large, original works by the master. It is there- titled “The Bride,” ties a portion of Du- dance performances originally continues at Philadelphia booksellers far and Museum of Art, on the other. fore most propitious for the museum to champ’s large famous painting on glass choreographed by Merce Cunwide. 26th Street & the Parkway, Basualdo says, “It tells the story of present this offering in which selections with a Jasper Johns untitled drawing ningham. Philadelphia, PA 19130, five extraordinary individuals and what by the five artists are presented alongrendered in ink on plastic and a related In addition to all these through Jan. 21, 2013. happened to art and culture when their side each other. By doing so, it allows work by Robert Rauschenberg. events, the museum has Info: 215-763-8100 or lives and work intersected.Their mutual visitors to experience and place preThe second section focuses on the brought out a marvelously atwww.philamuseum.org. interactions redefined the language of mium upon one of the most thoughtfully concept of time in assorted examples by tractive printed documentation contemporary art in the 1950s and ’60s.” studied periods in the entire history of Duchamp, the composer, John Cage, and of the exhibition and all of its His assistant, Erica Battle, has also recent modern art. the choreographer, Merce Cunningham. correlated features. Consistpointed out, “The explosion of not only In putting the exhibition together, The third portion posits stage sets by ing of some 270 pages, it is replete with creativity, but of creative freedom and Basualdo and Battle have also worked Johns and Rauschenberg with Duchsoundly prepared text matter and picexchange, that is examined in the exhiclosely with the French artist Philippe amp’s Bicycle Wheel and the enigmatic tures in full color and black and white.
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