The Addison Gallery, located on the campus of Phillips Academy in Andover, MA, is free and open to the public. Plan your visit >
Our Mission
Home to a world-class collection of American art, the Addison Gallery, located on the campus of Phillips Academy in Andover, MA, presents an adventurous exhibition program, hosts a vital artist-in-residence program, and works collaboratively with students and faculty at the Academy and in neighboring communities. Through our ongoing query What is America?, the Addison seeks to engage with the history of American art and American experience—past, present, and future.
About Our Collection
Comprised of more than 25,000 works in all media—painting, sculpture, photography, drawings, prints, and decorative arts—from the 18th century to the present, the Addison Gallery’s collection of American art is one of the most important in the world.
The museum’s founding collection included major works by such prominent American artists as John Singleton Copley, Thomas Eakins, Winslow Homer, Maurice Prendergast, John Singer Sargent, John Twachtman, and James McNeill Whistler.
In the nine decades since, aggressive purchasing and generous gifts have added works by such artists as Mark Bradford, Alexander Calder, Stuart Davis, Arthur Dove, Walker Evans, Robert Frank, Marsden Hartley, Hans Hofmann, Edward Hopper, Kerry James Marshall, Eadweard Muybridge, Georgia O’Keeffe, Jackson Pollock, Charles Sheeler, Lorna Simpson, John Sloan, Jaune Quick-to-See Smith, Frank Stella, Kara Walker, and Stanley Whitney.
One of the most impactful and innovative artists of our time, Frank Stella (1936-2024) consistently challenged the boundaries of painting and the potential of abstraction. While there is an undeniable thread of logic running from one body of work to the next, the steadfast and dramatic evolution of his art from early disciplined minimalist paintings to the later dynamic, baroque—even explosive—compositions attest to the artist’s extraordinary expansiveness. As the late art historian Bill Agee wrote, Stella offered “one surprise after another that [has] always pointed to new directions and possibilities.”
The Addison is fortunate to have had a long and meaningful relationship with Stella, as an alum (PA 1954), exhibiting artist, artist-in-residence, donor, and board member. The Addison’s collection includes 106 objects (paintings, sculpture, prints, and works on paper) by Stella.
Stella’s experience at @phillipsacademy was crucial to his formation as an artist. It was here that he began to seriously pursue art, studying along with classmates Carl Andre and Hollis Frampton, under the guidance of faulty members Patrick Morgan, and Gordon (Diz) Bensley. As he took art classes in the basement of the museum and learned from the collections in its galleries, Stella found great inspiration in the Addison’s environment. Stella would note in 1982 that the art program at Phillips Academy “would never have been the same without the Addison Gallery…Art education must be a felt presence; you must observe real things. It just doesn’t work to see everything secondhand, through slides and photographs.”
Later he added, “If a young person walks through a gallery of American painting in the 1950 and confronts the work of Copley, Inness, Sargent, Eakins, Remington, Homer, Dove, Hartley, Hofmann, Pollock, and Kline he will want to paint like Hofmann, Pollock, and Kline, admiring Hartley and Dove for the proximity to the former, and acknowledging the rest for their accomplishment and effort in facing the task of art. Looking at what happened and is happening, one has to want to do what is happening. Immediate sources count for a lot.”
#frankstella #phillipsacademy
![One of the most impactful and innovative artists of our time, Frank Stella (1936-2024) consistently challenged the boundaries of painting and the potential of abstraction. While there is an undeniable thread of logic running from one body of work to the next, the steadfast and dramatic evolution of his art from early disciplined minimalist paintings to the later dynamic, baroque—even explosive—compositions attest to the artist’s extraordinary expansiveness. As the late art historian Bill Agee wrote, Stella offered “one surprise after another that [has] always pointed to new directions and possibilities.”
The Addison is fortunate to have had a long and meaningful relationship with Stella, as an alum (PA 1954), exhibiting artist, artist-in-residence, donor, and board member. The Addison’s collection includes 106 objects (paintings, sculpture, prints, and works on paper) by Stella.
Stella’s experience at @phillipsacademy was crucial to his formation as an artist. It was here that he began to seriously pursue art, studying along with classmates Carl Andre and Hollis Frampton, under the guidance of faulty members Patrick Morgan, and Gordon (Diz) Bensley. As he took art classes in the basement of the museum and learned from the collections in its galleries, Stella found great inspiration in the Addison’s environment. Stella would note in 1982 that the art program at Phillips Academy “would never have been the same without the Addison Gallery…Art education must be a felt presence; you must observe real things. It just doesn’t work to see everything secondhand, through slides and photographs.”
Later he added, “If a young person walks through a gallery of American painting in the 1950 and confronts the work of Copley, Inness, Sargent, Eakins, Remington, Homer, Dove, Hartley, Hofmann, Pollock, and Kline he will want to paint like Hofmann, Pollock, and Kline, admiring Hartley and Dove for the proximity to the former, and acknowledging the rest for their accomplishment and effort in facing the task of art. Looking at what happened and is happening, one has to want to do what is happening. Immediate sources count for a lot.”
#frankstella #phillipsacademy](https://addison.andover.edu/wp-content/plugins/instagram-feed-pro/img/placeholder.png)
One of the most impactful and innovative artists of our time, Frank Stella (1936-2024) consistently challenged the boundaries of painting and the potential of abstraction. While there is an undeniable thread of logic running from one body of work to the next, the steadfast and dramatic evolution of his art from early disciplined minimalist paintings to the later dynamic, baroque—even explosive—compositions attest to the artist’s extraordinary expansiveness. As the late art historian Bill Agee wrote, Stella offered “one surprise after another that [has] always pointed to new directions and possibilities.”
The Addison is fortunate to have had a long and meaningful relationship with Stella, as an alum (PA 1954), exhibiting artist, artist-in-residence, donor, and board member. The Addison’s collection includes 106 objects (paintings, sculpture, prints, and works on paper) by Stella.
Stella’s experience at @phillipsacademy was crucial to his formation as an artist. It was here that he began to seriously pursue art, studying along with classmates Carl Andre and Hollis Frampton, under the guidance of faulty members Patrick Morgan, and Gordon (Diz) Bensley. As he took art classes in the basement of the museum and learned from the collections in its galleries, Stella found great inspiration in the Addison’s environment. Stella would note in 1982 that the art program at Phillips Academy “would never have been the same without the Addison Gallery…Art education must be a felt presence; you must observe real things. It just doesn’t work to see everything secondhand, through slides and photographs.”
Later he added, “If a young person walks through a gallery of American painting in the 1950 and confronts the work of Copley, Inness, Sargent, Eakins, Remington, Homer, Dove, Hartley, Hofmann, Pollock, and Kline he will want to paint like Hofmann, Pollock, and Kline, admiring Hartley and Dove for the proximity to the former, and acknowledging the rest for their accomplishment and effort in facing the task of art. Looking at what happened and is happening, one has to want to do what is happening. Immediate sources count for a lot.”
#frankstella #phillipsacademy
We’re thrilled to announce that Tommy Kha is the recipient of the Addison Artist Council’s 2025 Bartlett H. Hayes Jr. Prize!
The Addison Artist Council (AAC) launched the Hayes Prize in 2022 to provide important institutional support to American artists. Through this initiative, the Addison will organize Kha’s first solo exhibition at a collecting institution (to open in September 2025), with an accompanying publication, an artist’s residency, and an acquisition of Kha’s work for the museum’s permanent collection.
Born in Memphis, Tennessee, Kha lives and works between Brooklyn, New York, and Memphis. With a humorous and poignant touch, Kha examines how we construct belonging and otherness through photography, inventing new models for self-portraiture with a critical eye toward the medium’s long history of absences and erasure. Growing up as a queer Chinese-Vietnamese American in Memphis, Kha was made to feel othered; as an adult the artist claims a place for himself within both the American South and the tradition of photography. Critical of the ways in which photography has been used to construct and perpetuate narratives that exclude or misrepresent, Kha has found a model of picture-making through which he maintains agency as a subject while simultaneously questioning the construction of the “self.” In his ongoing project I’m Only Here to Leave (2015–present), the artist creates cardboard cut-outs and prosthetic masks of his own face and photographs them, complicating and fracturing his representation.
“With his exploration of representation, identity, and the history of photography, Tommy Kha is an ideal choice to receive the Hayes Prize. His perspective and investigation of the American experience will resonate with many students and visitors. We are proud to support artists like Kha who are making exceptional contributions in the visual arts, at a moment in their career when such support can have a lasting impact.” said Allison Kemmerer, the Addison’s Mary Stripp and R. Crosby Kemper Director.
Please join us in congratulating @tommykha!
Tommy Kha, Constellations (XVIII), Whitehaven, Memphis, 2019
#tommykha #hayesprize
We’re thrilled to announce that Tommy Kha is the recipient of the Addison Artist Council’s 2025 Bartlett H. Hayes Jr. Prize!
The Addison Artist Council (AAC) launched the Hayes Prize in 2022 to provide important institutional support to American artists. Through this initiative, the Addison will organize Kha’s first solo exhibition at a collecting institution (to open in September 2025), with an accompanying publication, an artist’s residency, and an acquisition of Kha’s work for the museum’s permanent collection.
Born in Memphis, Tennessee, Kha lives and works between Brooklyn, New York, and Memphis. With a humorous and poignant touch, Kha examines how we construct belonging and otherness through photography, inventing new models for self-portraiture with a critical eye toward the medium’s long history of absences and erasure. Growing up as a queer Chinese-Vietnamese American in Memphis, Kha was made to feel othered; as an adult the artist claims a place for himself within both the American South and the tradition of photography. Critical of the ways in which photography has been used to construct and perpetuate narratives that exclude or misrepresent, Kha has found a model of picture-making through which he maintains agency as a subject while simultaneously questioning the construction of the “self.” In his ongoing project I’m Only Here to Leave (2015–present), the artist creates cardboard cut-outs and prosthetic masks of his own face and photographs them, complicating and fracturing his representation.
“With his exploration of representation, identity, and the history of photography, Tommy Kha is an ideal choice to receive the Hayes Prize. His perspective and investigation of the American experience will resonate with many students and visitors. We are proud to support artists like Kha who are making exceptional contributions in the visual arts, at a moment in their career when such support can have a lasting impact.” said Allison Kemmerer, the Addison’s Mary Stripp and R. Crosby Kemper Director.
Please join us in congratulating @tommykha!
Tommy Kha, Constellations (XVIII), Whitehaven, Memphis, 2019
#tommykha #hayesprize
We’re sorry to note the recent passing of the remarkable painter, sculptor, and fiber artist Liz Whitney Quisgard (1929-2024). Liz was a force of nature (and server of very strong Manhattans) who never stopped believing in the importance and value of her work. Her obituary describes her so perfectly, “Liz Whitney Quisgard lived life as a feisty and fierce New York artist. Her incredible drive to create and promote her artwork never waned. Her imagination never rested, and neither did she.”
A large installation of Liz’s yarn on buckram “Scrambles” was recently featured in the exhibition “Women and Abstraction: 1741 to Now.”
#lizwhitneyquisgard #elizabethquisgard #fiberart #fiberartist #fiberarts #buckram #yarn #womenartists #underrecognizedartists #womeninabstraction #womenandabstraction #abstractart #abstraction #addisongalleryofamericanart
We’re sorry to note the recent passing of the remarkable painter, sculptor, and fiber artist Liz Whitney Quisgard (1929-2024). Liz was a force of nature (and server of very strong Manhattans) who never stopped believing in the importance and value of her work. Her obituary describes her so perfectly, “Liz Whitney Quisgard lived life as a feisty and fierce New York artist. Her incredible drive to create and promote her artwork never waned. Her imagination never rested, and neither did she.”
A large installation of Liz’s yarn on buckram “Scrambles” was recently featured in the exhibition “Women and Abstraction: 1741 to Now.”
#lizwhitneyquisgard #elizabethquisgard #fiberart #fiberartist #fiberarts #buckram #yarn #womenartists #underrecognizedartists #womeninabstraction #womenandabstraction #abstractart #abstraction #addisongalleryofamericanart
Addison Late ‘til 8 is this Friday, 5/3! Join us for evening open hours, 5-8pm. Drop in to explore the exhibitions, make art with Edward E. Elson Artist-in-Residence Jennifer Cecere (@cecerejen), and view her site-specific installation on the Addison’s facade. Free and open to the public. We hope to see you there!
Generous support for Jennifer Cecere’s installation is provided by the Abbot Academy Fund, continuing Abbot’s tradition of boldness, innovation, and caring.
#jennifercecere #abbotacadamy #phillipsacademy #outdoorsculpture #patternanddecoration #americanart #whatisamerica #addisongalleryofamericanart #doily #crochet #womenswork
Addison Late ‘til 8 is this Friday, 5/3! Join us for evening open hours, 5-8pm. Drop in to explore the exhibitions, make art with Edward E. Elson Artist-in-Residence Jennifer Cecere (@cecerejen), and view her site-specific installation on the Addison’s facade. Free and open to the public. We hope to see you there!
Generous support for Jennifer Cecere’s installation is provided by the Abbot Academy Fund, continuing Abbot’s tradition of boldness, innovation, and caring.
#jennifercecere #abbotacadamy #phillipsacademy #outdoorsculpture #patternanddecoration #americanart #whatisamerica #addisongalleryofamericanart #doily #crochet #womenswork
We’re seeing double this 4/20…because today is, obviously…National Look-Alike Day! There are no other holidays today!
To celebrate, here are a few celebrity doppelgängers that can be found in the Addison’s permanent collection!
Thomas Sully’s Tom Wharton vs Timothée Chalamet
Frederick Carl Frieseke’s Frances vs Christina Ricci as Wednesday Addams
Ralph Earl’s Reverend Nathaniel Taylor vs Robert De Niro
William Merritt Chase’s The Leader vs Jeremy Allen White as Carmen “Carmy” Berzatto
Who are your favorite Addison doppelgängers?
#nationalllookalikeday #thomassully #timothéechalamet #frederickcarlfrieseke #christinaricci #wednesdayaddams #ralphearl #robertdeniro #earlyamericanportraiture #williammerrittchase #jeremyallenwhite #americanart #thebear #importantarthistory #whatisamerica #addisongalleryofamericanart
We’re seeing double this 4/20…because today is, obviously…National Look-Alike Day! There are no other holidays today!
To celebrate, here are a few celebrity doppelgängers that can be found in the Addison’s permanent collection!
Thomas Sully’s Tom Wharton vs Timothée Chalamet
Frederick Carl Frieseke’s Frances vs Christina Ricci as Wednesday Addams
Ralph Earl’s Reverend Nathaniel Taylor vs Robert De Niro
William Merritt Chase’s The Leader vs Jeremy Allen White as Carmen “Carmy” Berzatto
Who are your favorite Addison doppelgängers?
#nationalllookalikeday #thomassully #timothéechalamet #frederickcarlfrieseke #christinaricci #wednesdayaddams #ralphearl #robertdeniro #earlyamericanportraiture #williammerrittchase #jeremyallenwhite #americanart #thebear #importantarthistory #whatisamerica #addisongalleryofamericanart
We’re beyond thrilled to announce the April 27th debut of two large-scale, site-specific installations by Jennifer Cecere commissioned in honor of Abbot & Andover at 50: Then, Now, Next!
“Abbot & Andover at 50” aims to recognize the legacy of Abbot Academy, one of the first educational institutions in New England founded for girls and women, and the ways it has impacted the Andover community. Cecere, a member of the Abbot Academy Class of 1969, has spent much of her career creating works of art that activate public spaces while challenging traditional perspectives on “women’s work.” Long associated with the Pattern and Decoration movement, which challenged hierarchies by referencing marginalized artistic traditions like quilting, metalwork, and embroidery, Cecere is best known for bold pieces that embrace and reimagine the domestic doily. For centuries, these accessories protected furniture, added decorative touches, and showcased women’s needlework skills. In Cecere’s installations, free from the constraints of household spaces, the doilies take on a much larger role.
For “Abbot & Andover at 50,” Cecere has created works that recontextualize the humble lace ornament and dynamically link both campuses. Abbot Doily Bench, which takes the shape of an accordion-folded doily and is over nine feet long, five feet wide, and eight feet high, will be displayed on the grounds of the original Abbot campus, while Women’s Work, 20 feet in diameter, will hang on the façade of the Addison on the original Andover campus. Together, the two laser-cut aluminum pieces encourage reconsideration of the habitually overlooked contributions of women artists and, by extension, the often underappreciated yet lasting impact of Abbot Academy on the culture and traditions of Phillips Academy.
There will be many opportunities to engage with @cecerejen and her incredible work this spring and summer. Stay tuned for more information!
Generous support for these installations has been provided by the Abbot Academy Fund, continuing Abbot’s tradition of boldness, innovation, and caring.
#jennifercecere #abbotacademyfund #abbotacademy #patternanddecoration #andover #publicart
We’re beyond thrilled to announce the April 27th debut of two large-scale, site-specific installations by Jennifer Cecere commissioned in honor of Abbot & Andover at 50: Then, Now, Next!
“Abbot & Andover at 50” aims to recognize the legacy of Abbot Academy, one of the first educational institutions in New England founded for girls and women, and the ways it has impacted the Andover community. Cecere, a member of the Abbot Academy Class of 1969, has spent much of her career creating works of art that activate public spaces while challenging traditional perspectives on “women’s work.” Long associated with the Pattern and Decoration movement, which challenged hierarchies by referencing marginalized artistic traditions like quilting, metalwork, and embroidery, Cecere is best known for bold pieces that embrace and reimagine the domestic doily. For centuries, these accessories protected furniture, added decorative touches, and showcased women’s needlework skills. In Cecere’s installations, free from the constraints of household spaces, the doilies take on a much larger role.
For “Abbot & Andover at 50,” Cecere has created works that recontextualize the humble lace ornament and dynamically link both campuses. Abbot Doily Bench, which takes the shape of an accordion-folded doily and is over nine feet long, five feet wide, and eight feet high, will be displayed on the grounds of the original Abbot campus, while Women’s Work, 20 feet in diameter, will hang on the façade of the Addison on the original Andover campus. Together, the two laser-cut aluminum pieces encourage reconsideration of the habitually overlooked contributions of women artists and, by extension, the often underappreciated yet lasting impact of Abbot Academy on the culture and traditions of Phillips Academy.
There will be many opportunities to engage with @cecerejen and her incredible work this spring and summer. Stay tuned for more information!
Generous support for these installations has been provided by the Abbot Academy Fund, continuing Abbot’s tradition of boldness, innovation, and caring.
#jennifercecere #abbotacademyfund #abbotacademy #patternanddecoration #andover #publicart
Crank up the Bonnie Tyler because it’s eclipse day in America! Don’t follow the example of a certain former president by staring directly at the sun. Wear your protective eyewear and try to avoid thinking about how—within a week—we’ve seen the Statue of Liberty get struck by lightning followed by an earthquake followed by an eclipse. The medieval peasant in me is freaking out.
Unidentified photographer. Viewing the solar eclipse in France, 1961. Gelatin silver print. Gift of W.M. Hunt
#eclipse #totaleclipseoftheheart #bonnietyler #eclipse2024 #fourhorsemen #protectiveeyewear #vintagefrance #livinginapowderkegandgivingoffsparks #americanart #whatisamerica #addisongalleryofamericanart
Crank up the Bonnie Tyler because it’s eclipse day in America! Don’t follow the example of a certain former president by staring directly at the sun. Wear your protective eyewear and try to avoid thinking about how—within a week—we’ve seen the Statue of Liberty get struck by lightning followed by an earthquake followed by an eclipse. The medieval peasant in me is freaking out.
Unidentified photographer. Viewing the solar eclipse in France, 1961. Gelatin silver print. Gift of W.M. Hunt
#eclipse #totaleclipseoftheheart #bonnietyler #eclipse2024 #fourhorsemen #protectiveeyewear #vintagefrance #livinginapowderkegandgivingoffsparks #americanart #whatisamerica #addisongalleryofamericanart
Did you feel that earthquake? We didn’t…but we refuse to fall behind in the museum meme arms race. We allowed the Whitney to post a Donald Judd after the Kim Kardashian fiasco before we did and we will not stand by and let that happen to us again!
Ralph Eugene Meatyard (1925-1972). Untitled (Motion-Sound Landscape), 1969. Gelatin silver print. Museum purchase, 1974.22.9
#ralpheugenemeatyard #earthquake #eastcoastearthquake #dinalohan #southernphotography #meatyard #topicalpost #americanart #whatisamerica #addisongalleryofamericanart
Did you feel that earthquake? We didn’t…but we refuse to fall behind in the museum meme arms race. We allowed the Whitney to post a Donald Judd after the Kim Kardashian fiasco before we did and we will not stand by and let that happen to us again!
Ralph Eugene Meatyard (1925-1972). Untitled (Motion-Sound Landscape), 1969. Gelatin silver print. Museum purchase, 1974.22.9
#ralpheugenemeatyard #earthquake #eastcoastearthquake #dinalohan #southernphotography #meatyard #topicalpost #americanart #whatisamerica #addisongalleryofamericanart
On this holy day of #ThrowbackThursay let’s take a trip back to 1930 (not really, we aren’t strong enough to handle that). Instead, let us gaze upon these recently digitized photographs that document the construction of our beloved Addison Gallery of American Art!
These images were drawn from an album of photographs of buildings designed by Charles A. Platt from the collection of the New York Public Library. Thank you to the @nypl for digitizing this album (never a glamorous undertaking) and for making these scans available for download through your website—check it out! We love libraries.
Learn more about the Addison’s founding and early days this Sunday at our Defining American Art: Then and Now symposium! This program is part of Lunder Institute@ and is co-presented by the Addison and the @lunderinstitute, an initiative of the @colbymuseum. Click the link in our bio to snag one of the last remaining—free—tickets and see you this weekend!
Images courtesy of: The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Photography Collection, The New York Public Library. “Addison Art Gallery. Andover, Mass.” The New York Public Library Digital Collections. 1930.
#charlesaplatt #addisongalleryofamericanart #construction #1930s #americanart #whatisamerica
On this holy day of #ThrowbackThursay let’s take a trip back to 1930 (not really, we aren’t strong enough to handle that). Instead, let us gaze upon these recently digitized photographs that document the construction of our beloved Addison Gallery of American Art!
These images were drawn from an album of photographs of buildings designed by Charles A. Platt from the collection of the New York Public Library. Thank you to the @nypl for digitizing this album (never a glamorous undertaking) and for making these scans available for download through your website—check it out! We love libraries.
Learn more about the Addison’s founding and early days this Sunday at our Defining American Art: Then and Now symposium! This program is part of Lunder Institute@ and is co-presented by the Addison and the @lunderinstitute, an initiative of the @colbymuseum. Click the link in our bio to snag one of the last remaining—free—tickets and see you this weekend!
Images courtesy of: The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Photography Collection, The New York Public Library. “Addison Art Gallery. Andover, Mass.” The New York Public Library Digital Collections. 1930.
#charlesaplatt #addisongalleryofamericanart #construction #1930s #americanart #whatisamerica
Join us tomorrow—Friday, March 29th—for Addison Late ‘til 8! We cannot think of a better Friday evening activity!
All are invited to join us for evening open hours at the Addison! Explore the exhibitions, participate in drop-in activities hosted by the Addison Community Ambassadors, hear from students who created a new mural (talk at 7:15pm), and meet Edward. E. Elson Artist-in-Residence Sue McNally.
Free and open to the public.
Photograph of delighted Addison visitors at our latest opening celebration by @kathytphotos.
#addisongalleryofamericanart
Join us tomorrow—Friday, March 29th—for Addison Late ‘til 8! We cannot think of a better Friday evening activity!
All are invited to join us for evening open hours at the Addison! Explore the exhibitions, participate in drop-in activities hosted by the Addison Community Ambassadors, hear from students who created a new mural (talk at 7:15pm), and meet Edward. E. Elson Artist-in-Residence Sue McNally.
Free and open to the public.
Photograph of delighted Addison visitors at our latest opening celebration by @kathytphotos.
#addisongalleryofamericanart
The Addison mourns the loss of the great American artist Richard Serra.
In 2003 the Addison organized a major traveling survey of Serra’s prints, the first American museum study of the artist’s graphic oeuvre—Richard Serra: Large Scale Prints.
In the accompanying exhibition catalogue Allison Kemmerer, now the Addison’s Mary Stripp and R. Crosby Kemper Director notes: “In Serra’s work, as in the layout of Zen temple gardens, ‘directions, continuity, and paths work together to deny a fixed measure.’ Grounded in the logic of construction and the realities of materials, Richard Serra’s art seems to present only irreducible and fundamental physical truths. Yet, within this apparent transparency, mystery endures.”
Richard Serra (1939-2024). Clara Clara I, 1984. Paintstick on screenprint on paper. Gift of Jane, John and Alexandra (PA 1996) Olson, 1997.79
#richardserra #americanart #whatisamerica #addisongalleryofamericanart
The Addison mourns the loss of the great American artist Richard Serra.
In 2003 the Addison organized a major traveling survey of Serra’s prints, the first American museum study of the artist’s graphic oeuvre—Richard Serra: Large Scale Prints.
In the accompanying exhibition catalogue Allison Kemmerer, now the Addison’s Mary Stripp and R. Crosby Kemper Director notes: “In Serra’s work, as in the layout of Zen temple gardens, ‘directions, continuity, and paths work together to deny a fixed measure.’ Grounded in the logic of construction and the realities of materials, Richard Serra’s art seems to present only irreducible and fundamental physical truths. Yet, within this apparent transparency, mystery endures.”
Richard Serra (1939-2024). Clara Clara I, 1984. Paintstick on screenprint on paper. Gift of Jane, John and Alexandra (PA 1996) Olson, 1997.79
#richardserra #americanart #whatisamerica #addisongalleryofamericanart
It’s time to support what you love (not to be immodest but we hope you love us as much as we love you—no pressure)—and elevate your impact for the Addison Gallery of American Art!
The PA Giving Day tradition means so much to our campus community, and we hope you’ll join us right now. We’re offering you a special opportunity to multiply the power of your support—a pair of donors will contribute $𝟯𝟭𝟬 𝗳𝗼𝗿 𝗲𝗮𝗰𝗵 𝗼𝗳 𝘁𝗵𝗲 𝗳𝗶𝗿𝘀𝘁 𝟭𝟬𝟬 𝗴𝗶𝗳𝘁𝘀 𝗿𝗲𝗰𝗲𝗶𝘃𝗲𝗱, unlocking an additional $31,000 for the Addison Gallery!
The Addison relies on the generosity of all of our friends out there to support our cutting-edge exhibitions, incredible educational programs, and world-class collection. Please show your support today—every gift counts!
Click the link in our bio and be sure to designate the Addison as the beneficiary of your gift!
Thank you! We promise this won’t be as painful as an NPR pledge drive!
#pagivingday #phillipsacademy #addisongalleryofamericanart
It’s time to support what you love (not to be immodest but we hope you love us as much as we love you—no pressure)—and elevate your impact for the Addison Gallery of American Art!
The PA Giving Day tradition means so much to our campus community, and we hope you’ll join us right now. We’re offering you a special opportunity to multiply the power of your support—a pair of donors will contribute $𝟯𝟭𝟬 𝗳𝗼𝗿 𝗲𝗮𝗰𝗵 𝗼𝗳 𝘁𝗵𝗲 𝗳𝗶𝗿𝘀𝘁 𝟭𝟬𝟬 𝗴𝗶𝗳𝘁𝘀 𝗿𝗲𝗰𝗲𝗶𝘃𝗲𝗱, unlocking an additional $31,000 for the Addison Gallery!
The Addison relies on the generosity of all of our friends out there to support our cutting-edge exhibitions, incredible educational programs, and world-class collection. Please show your support today—every gift counts!
Click the link in our bio and be sure to designate the Addison as the beneficiary of your gift!
Thank you! We promise this won’t be as painful as an NPR pledge drive!
#pagivingday #phillipsacademy #addisongalleryofamericanart
