Tag Archives: Jasper Johns

Contemporary

Embracing the Contemporary, Sachs Collection, PMAEllsworth Kelly, Black Red Orange, 1966, oil on canvas, two joined panels. Promised gift The Keith L. and Katherine Sachs Collection

Embracing the Contemporary:

The Keith L. and Katherine Sachs Collection of Contemporary Art

Through September 5, 2016

The Philadelphia Museum of Art is opening a major exhibition entitled Embracing the Contemporary: The Keith L. and Katherine Sachs Collection. The exhibition presents one of this country’s finest collections of contemporary art, which includes outstanding works by some of the most influential European and American artists since the mid-twentieth century, including Jasper Johns, Howard Hodgkin, Ellsworth Kelly, Jeff Koons, Brice Marden, Bruce Nauman, Gabriel Orozco, Charles Ray, and Cy Twombly. Many of these works have either been donated to the Museum or pledged as promised gifts.

Timothy Rub, The George D. Widener Director and Chief Executive Officer, stated: “We are delighted to present the collection assembled with a spirit of adventure and intelligence by Keith and Kathy Sachs over the course of more than four decades. They are not only thoughtful collectors, but also great Philadelphians who love this city and its cultural and educational institutions. To have such a fine collection come to the Museum as a gift is a rare and wonderful thing. It is also transformative, much like the important collections of modern art that came to us in the early 1950s from Albert E. Gallatin and Louise and Walter Arensberg. Keith and Kathy’s promised gift to the Museum of more than 90 works, which we announced to the public in 2014, immensely strengthened our holdings of contemporary art.”

Embracing the Contemporary presents a selection of about one hundred works from the Sachs Collection, reflecting Keith and Kathy’s engagement with individual artists and the development of their collecting over time. A number of artists with whom the couple developed meaningful ties over the years are presented in depth, including Jasper Johns, Ellsworth Kelly, and Brice Marden. Among the works by Johns are a recent suite of paintings entitled Five Postcards (2011), and Nines (2006), an assemblage featuring the late 1960’s flagstone motif painted in red, yellow and blue, as well as Voice II (1982), a three-part, ink-on-plastic drawing. Other works in the collection complement the Museum’s holdings of works by leading German artists such as Georg Baselitz, Anselm Kiefer, and Gerhard Richter.

Embracing the Contemporary, Sachs CollectionRed Ground Letter, 2007-2010. Brice Marden, American, born 1938. Oil on canvas, 6 × 8 feet (182.9 × 243.8 cm). Promised gift of Keith L. and Katherine Sachs. © 2016 Brice Marden/ Artists Rights Society (ARS) NY.

The exhibition reflects the variety and range of interests that distinguish the Sachs Collection. It includes, for example, a work on paper by the Pennsylvania-born Abstract Expressionist painter Franz Kline, Untitled (c. 1956), which was among the couple’s first purchases after they married in 1969. Also on view is the earliest work to enter their collection, Portrait of Jean-Louis (1947-49) by Louise Bourgeois, and one of the most recent, Untitled (2000-2013) by Peter Fischli and David Weiss, as well as major works by Robert Gober, Richard Hamilton, Robert Ryman, and Terry Winters.

At the heart of the exhibition is Boy with Frog (2008) by Charles Ray. The oversized nude figure extends his arm and holds aloft a captured amphibian, regarding it with a mixture of fascination and bewilderment that can be considered a metaphor for discovery. Among the large-scale photographs in the Sachs Collection are exceptional works by Andreas Gursky, Candida Höfer, Clifford Ross, Thomas Ruff, Thomas Struth, and Jeff Wall.  Important examples of video and film work by such celebrated figures as Francis Alÿs, Pierre Huyghe, and Steve McQueen will be presented. Also included are artist’s portfolios, personal mementos, letters, photographs, and other items that document the history of the Sachs Collection.

Embracing the Contemporary, Sachs CollectionVoice 2, 1982. Jasper Johns, American, born 1930. Ink on plastic, 3 panels, Promised gift of Keith L. and Katherine Sachs. © Jasper Johns/ Licensed by VAGA, New York. Courtesy of Matthew Marks Gallery.

The exhibition continues in the contemporary galleries of the Modern and Contemporary wing, recently named for Keith and Katherine Sachs. In this section of the exhibition, works from the collection are interspersed with holdings of the Museum, highlighting the ways in which the gifts and promised gifts both complement and strengthen the Museum’s collection of contemporary art.

Carlos Basualdo, The Keith L. and Katherine Sachs Senior Curator of Contemporary Art, said: “The Sachs Collection contains works that reflect some of the most daring developments in contemporary art over the past few decades, and a vision that is deeply personal and grounded in Keith and Kathy’s admiration for the artists whose work they collect.  Their commitment to the work of living artists is what makes this collection so remarkable.”

Publication

An illustrated publication accompanies the exhibition, edited by Carlos Basualdo, the organizing curator, with Anna Mecugni, Exhibition Assistant. It is co-published by the Philadelphia Museum of Art, in association with Yale University Press. The book features nearly 80 entries on individual artists, with essays by distinguished art historians and curators devoted to artists whose work Keith and Kathy Sachs have collected more in depth. The introductory essay by Carlos Basualdo will situate the Sachs Collection gift within the Museum’s history of collecting contemporary art. A statement by the couple  and an interview with them will offer insights into their personal history of collecting and illuminate their lifelong relationship with the Museum.

Curator

Carlos Basualdo, The Keith L. and Katherine Sachs Senior Curator of Contemporary Art

Embracing the Contemporary, Sachs CollectionHoward Hodgkin, Keith and Kathy Sachs, oil on wood, historic frame

Location

Dorrance Special Exhibition Galleries, first floor

The Keith L. and Katherine Sachs Galleries, first floor

About the collectors

Keith and Katherine Sachs have been supporters of the Philadelphia Museum of Art since the 1970s. Katherine Sachs has contributed scholarship to numerous Museum exhibitions organized by the Department of European Painting before 1900, including Cézanne (1996), Van Gogh Face to Face: Portraits (2000), and Cézanne and Beyond (2009), for which she served as co-curator.

A Trustee of the Museum since 1988, Keith Sachs serves as chair of the Museum’s Contemporary Art Committee and has been active as Chair or Vice Chair on Trustee committees including Architecture and Facilities, Collections, and Executive. He is the former CEO of Saxco International LLC, a principal distributor of packaging material to producers of alcoholic beverages in North America. In addition to their commitment to the Museum, the couple has been active in supporting contemporary art in Philadelphia. Keith Sachs served as chair of the Board of Overseers at the University of Pennsylvania’s School of Design, and Katherine Sachs is an Emeritus Trustee of the University of Pennsylvania and serves on the Board of Overseers of the University’s Institute of Contemporary Art, where she was Chair for ten years. At Penn the couple endowed The Keith L. and Katherine Sachs Professor of Contemporary Art, The Visiting Professor in the Fine Arts at Penn Design, The Sachs Guest Curator Program at the ICA, and The Sachs Fine Arts Program Fund.

Modern Art at the Philadelphia Museum of Art

The Museum’s twentieth-century holdings represent an especially close collaboration between artists and collectors. At the core are the Albert E. Gallatin and Louise and Walter Arensberg collections. Both were among the most significant collections of contemporary art formed during the 1920s and 1930s in the United States. These gifts determined the nature of the Museum’s collection as one especially rich in concentrations of work by particular artists, such as Marcel Duchamp, Pablo Picasso, Constantin Brancusi, and Joan Miró. Gallatin, an artist as well as a collector, was a central figure in the American Abstract Artists Group in New York, where his collection was on view as the “Gallery of Living Art” before it was transferred to Philadelphia in 1943. The Arensbergs formed their collection over the course of four decades with the assistance of Duchamp. The Museum is now home to the world’s most important collection of Duchamp’s work, much of it assembled by the Arensbergs.

Social Media

Follow us and join the conversation.

Twitter/Facebook/Instagram/Tumblr/YouTube @philamuseum

Exhibition Hours:
Tuesday–Sunday: 10:00 a.m.–5:00 p.m.; Wednesday and Friday: 10:00 a.m.–8:45 p.m.

The Philadelphia Museum of Art is Philadelphia’s art museum. We are a landmark building. A world-renowned collection. A place that welcomes everyone. We bring the arts to life, inspiring visitors—through scholarly study and creative play—to discover the spirit of imagination that lies in everyone. We connect people with the arts in rich and varied ways, making the experience of the Museum surprising, lively, and always memorable. We are committed to inviting visitors to see the world—and themselves—anew through the beauty and expressive power of the arts.

Thank you to The Philadelphia Museum of Art for the content of this post.

DoN asked Katherine Sachs a question for DoNArTNeWs.

SEO and Photoshop by DoN.

Like DoNArTNeWs Philadelphia Art News Blog on facebook

Follow the new DoNArTNeWs.com

Follow DoN on Twitter @DoNNieBeat58

DoNArTNeWs on Tumblr

DoN Brewer on Pinterest

@donniebeat on Instagram

Affiliate Marketing [disclosure page] Shop on-line and help support DoNArTNeWs

Donate via safe and secure PayPal in the sidebar.

Pop

International Pop, Philadelphia Museum of ArtInternational Pop, Philadelphia Museum of Art

Through May 15, 2016

The Philadelphia Museum of Art is presenting a groundbreaking survey of an important movement that explores a global phenomenon that was shaped by artists working in many different countries throughout the world. International Pop features paintings, sculpture, assemblage, installation, printmaking, and film by eighty artists, drawn from public and private collections, and offers an intriguing new look at a subject that is familiar. Viewing Pop Art through a much wider lens, it is sure to delight audiences and broaden their understanding of one of the most significant chapters in the history of contemporary art. This is the first traveling exhibition in the United States to present a comprehensive account of the development of Pop Art during the 1960s and 1970s. The Philadelphia Museum of Art is the final venue and the only East Coast presentation.

International Pop, Philadelphia Museum of Art, Richard HamiltonHers is a Lush Situation, 1958, Richard Hamilton, (Pallant House Gallery, Chichester, UK, Wilson Gift through the Art Fund, 2006)

Timothy Rub, the George D. Widener Director and CEO of the Philadelphia Museum of Art, stated: “Pop was one of the most iconic art movements of the second half of the twentieth century. This exhibition is an ambitious effort to explore its emergence and impact far beyond the borders of the United States and Britain. We are delighted that in Philadelphia we are adding to the exhibition some important works from private collections and our own holdings of contemporary art.”

International Pop, Philadelphia Museum of Art, Ushio ShinoharaOiran, 1968, by Ushio Shinohara (Museum of Contemporary Art Tokyo) © Ushio and Noriko Shinohara

Highlights of International Pop include works of major British and American artists presented in juxtaposition with works by artists from other countries that were centers for the development of Pop Art. Hers is a Lush Situation, a work painted in 1957 by one of the seminal figures of this movement, the British artist Richard Hamilton, offers a witty commentary on the advertising adage that sex sells. It treats the forms and shapes of a Buick as an evocation of the human body, punctuated by a cut-out of Sophia Loren’s lips.  Other artists would look at this issue in a different light. In O Beijo (The Kiss) of 1967, for example, the Brazilian Waldemar Cordeiro turns the lips of Bridget Bardot into a mechanized image of a kinetic sculpture, fusing pop culture and emerging computer technology. By contrast, in Ice Cream, the Belgian artist Evelyne Axell paints a woman licking an ice cream cone from a radically feminized perspective, at once quoting and challenging notions of sexual desire.

International Pop, Philadelphia Museum of Art, Dalila PuzzovioDalila doble plataforma, 1967, by Dalila Puzzovio (Mock Galeria, Buenos Aires)

International Pop, Philadelphia Museum of Art, Hélio OiticicaBe an Outlaw, Be a Hero (Seja Marginal, seja herói), 1967, by Hélio Oiticica (Philadelphia Museum of Art: Purchased with funds contributed by the Committee on Modern and Contemporary Art)

A key work shown only in Philadelphia is Jasper Johns‘s Flag, 1958, in which the artist represents the iconic image of the American flag in a literal way and at the same time utilizes it as a vehicle for exploring new possibilities for contemporary painting. Other works, such as Antônio Henrique Amarals Homenagem ao Século XX/XXI (20th/21stCentury Tribute), 1967, suggest that such an image could not be separated from the dominance of America as a cultural power in Brazil at this time. Ushio Shinohara‘s Coca-Cola Plan (After Rauschenberg) of 1964 reflects the complex relationship between Japanese artists and their American counterparts, whose work they largely experienced through print media. Also seen only in Philadelphia are Mimmo Rotella’s The Hot Marilyn, 1962—a decollage of an Italian movie poster shredded from wear on the street—and Ed Ruscha’s Felix, 1960, an early example of his work in the idiom of Pop Art, of which he was one of this country’s pioneering figures.

International Pop, Philadelphia Museum of Art, Gerhard RichterWoman Descending the Staircase (Frau die Treppe herabgehend), 1965, by Gerhard Richter (The Art Institute of Chicago; Roy J. and Frances R. Friedman Endowment: Gift of Lannan Foundation) © Gerhard Richter

International Pop, Philadelphia Museum of Art, ErróFoodscape, 1964, by Erró, Oil on canvas, (Moderna Museet, Stockholm)

International Pop, Philadelphia Museum of Art, Joe TilsonLOOK! 1964, by Joe Tilson (Walker Art Center, Minneapolis: Art Center Acquisition Fund, 1966) © Artists Rights Society (ARS), New York / DACS, London

Emerging first in the United Kingdom and the United States, Pop Art soon become an international phenomenon, finding expression in a bewildering variety of different forms and media. It was a product of a revolutionary social and political era as well as a response to the proliferation of consumer culture in the decades after World War II and the media—magazines, television, and motion pictures—that fueled its growth. The exhibition gives visitors a rare opportunity to see Pop Art in a new light. It examines the factors that shaped artistic activity in the social democracies of Europe, the military regimes of Latin America, and Japan in the aftermath of U.S. occupation. It includes sections closely examining vital hubs of Pop activity in Great Britain, Brazil, Argentina, Germany, the United States, and Japan. International Pop also brings together works from diverse geographic regions and different periods during the development of the movement to explore common themes and subjects.

International Pop, Philadelphia Museum of Art, Richard HamiltonEpiphany, 1964-1989, by Richard Hamilton (Collection of Rita Donagh), © Artists Rights Society (ARS), New York / DACS, London

International Pop, Philadelphia Museum of Art, Evelyne AxellIce Cream, 1964, by Evelyne Axell (Collection of Serge Goisse, Belgium)

International Pop, Philadelphia Museum of Art, Edward RuschaStandard Station, Amarillo, Texas, 1963, by Edward Ruscha (Hood Museum of Art, Dartmouth College, Hanover, New Hampshire: Gift of James Meeker, class of 1958, in memory of Lee English, Class of 1958, scholar, poet, athlete and friend to all) © Edward Ruscha, courtesy Gagosian Gallery

Among the other artists featured in International Pop are James Rosenquist, Claes Oldenburg, Jim Dine, Rosalyn Drexler, and Andy Warhol (United States); Peter Blake, and Pauline Boty (Great Britain); Konrad Lueg, Sigmar Polke, and Gerhard Richter (Germany); Keiichi Tanaami, and Genpei Akasegawa (Japan); Antônio Dias (Brazil); and Marta Minujín, Dalila Puzzovio, and Edgardo Costa (Argentina); Sergio Lombardo and Mario Schifano (Italy); and Yves Klein, Niki de Saint Phalle, and Martial Raysse (France).

International Pop, Philadelphia Museum of Art, Tom WesselmannStill Life #35, 1963, by Tom Wesselmann (Collection of Claire Wesselmann) © Visual Artists and Galleries Assoc., Inc. (VAGA), New York

International Pop, Philadelphia Museum of Art, Roy LichtensteinLook Mickey, 1961, by Roy Lichtenstein (National Gallery of Art, Washington, Gift of Roy and Dorothy Lichtenstein in Honor of the 50th Anniversary of the National Gallery of Art

International Pop, Philadelphia Museum of Art, James RosenquistZone, 1961, by James Rosenquist (Philadelphia Museum of Art: Purchased with the Edith H. Bell Fund, 1982-9-1) © Visual Artists and Galleries Assoc., Inc. (VAGA), New York

Curator: Erica F. Battle, The John Alchin and Hal Marryatt Associate Curator of Contemporary Art

Support: International Pop is organized by the Walker Art Center. This exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities.

Major support for the exhibition is provided by the Henry Luce Foundation, the Prospect Creek Foundation, the Terra Foundation for American Art, The Andy Warhol Foundation for the Visual Arts, and the Margaret and Angus Wurtele Family Foundation. Additional support is generously provided by Judy Dayton, Lyn De Logi, Marge and Irv Weiser, and Audrey and Zygi Wilf.

In Philadelphia, the exhibition is supported by the Estate of Phyllis T. Ballinger, the Women’s Committee of the Philadelphia Museum of Art, The Annenberg Foundation Fund for Major Exhibitions, The Laura and William C. Buck Endowment for Exhibitions, the Roy Lichtenstein Foundation, and the Japan-United States Friendship Commission. Additional generous donors include John Alchin and Hal Marryatt, Mitchell L. and Hilarie L. Morgan, Isabel and Agustín Coppel, Jaimie and David Field, Marsha and Jeffrey Perelman, and Lyn M. Ross.

Corporate support generously provided by RBC Wealth Management.

The Museum gratefully recognizes exhibition media partner Time Out.

Publication: The exhibition is accompanied by a fully-illustrated catalogue. It is the first major survey to chronicle the emergence and development of Pop art from an international perspective, focusing on the period from the 1950s through the early 1970s. Including original texts from a diverse roster of contributors, the catalogue offers important new scholarship on the period. The volume includes some 320 illustrations, including full-color plates of each work in the exhibition, integrating many classics of Pop art with other rarely seen works.  Published by the Walker Art Center, the hardbound 368-page volume is distributed by Distributed Art Publishers.

“Passport to Pop” Public Programs: In Philadelphia, the exhibition will be accompanied by Passport to Pop, a series of public programs including artists’ talks, lectures, panel discussions, and special tours. In addition, the Philadelphia Museum of Art is collaborating with International House, in West Philadelphia, and Ed Halter of Light Industry, New York, to host eight nights of Pop art films from February to May.

Social Media:

Facebook and Twitter: philamuseum

Tumblr: philamuseum

YouTube: PhilaArtMuseum 

Instagram: @philamuseum

The Philadelphia Museum of Art is Philadelphia’s art museum. We are a landmark building. A world-renowned collection. A place that welcomes everyone. We bring the arts to life, inspiring visitors—through scholarly study and creative play—to discover the spirit of imagination that lies in everyone. We connect people with the arts in rich and varied ways, making the experience of the Museum surprising, lively, and always memorable. We are committed to inviting visitors to see the world—and themselves—anew through the beauty and expressive power of the arts.

Thank you to The Philadelphia Museum of Art for the content of this post. Search engine optimization and Photoshop by DoN Brewer.

Read DoN‘s review of 180 Farben (180 Colors), Gerhard RichterPhiladelphia Museum of Art on DoNArTNeWs.com

Like DoNArTNeWs Philadelphia Art News Blog on facebook

Follow the new DoNArTNeWs.com

Follow DoN on Twitter @DoNNieBeat58

DoNArTNeWs on Tumblr

DoN Brewer on Pinterest

@donniebeat on Instagram

Affiliate Marketing [disclosure page] Shop on-line and help support DoNArTNeWs

Donate via safe and secure PayPal in the sidebar.