Tag Archives: Philadelphia Museum of Art

Anahata

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John Singletary - Anahata, James Oliver Galleryclick for large images

John Singletary – Anahata, James Oliver Gallery

James Oliver Gallery, 723 Chestnut Street, 4th Floor, Philadelphia, PA 19106

215-923-1242 (office)

267-918-7432 (mobile)

jamesolivergallery@gmail.com

May 6th – June 9th, 2017

Opening Reception: Saturday, May 6th, 6:00 -10:00 PM

Gallery Hours: Wednesday – Friday 5:00pm – 8:00pm, Saturday 12:00pm – 8:00pm

John Singletary - Anahata, James Oliver GalleryDetail of “Providence“, 30′ x 5′, Photography Based OLED Installation.

Philadelphia native, John Singletary, is a fine art photographer and multi-media artist.  His educational training includes both Drexel University and The University of the Arts. He has exhibited at The Pennsylvania State Museum of Art, LG Tripp Gallery and Gallery 1401. As well, his work is represented in the permanent collections at the Philadelphia Museum of Art, The Center for Fine Art Photography and The Free Library of Philadelphia.

Anahata is a photographic exhibition that uses its mode of presentation to transcend the limitations of the medium in a multi-disciplinary installation experience. Photographs are animated through multiple state-of-the-art organic LED panels used as electronic canvases. The technology is synchronized to create joined, large format displays, some forming 8′ x 8′ luminous squares or a 30′ Greco-Roman frieze-inspired compositions. Images materialize out of walls and recede back into darkness, as would apparitions in this oddly familiar living space. These and other works are set to original music composed by John Singletary and Matt Hollenberg. In addition, the show will feature a live performance by dancers Amber Malmstadt and Megan Hannon.

John Singletary - Anahata, James Oliver GalleryDetail of “Providence“, 30’x5′ Photography Based OLED Installation.

While the ambition in Singletary’s presentation is of distinct merit, it’s not mere technology doing the real work. The photographic quality in his highly ornamented images demonstrates a conscious and masterful use of the medium. Influenced by a production approach found in theater and cinema, Singletary and his crew built a black box studio in a Victorian house in Germantown, PA as a set for the photography in Anahata. This long term collaborative project enlisted dancers, theater performers, costume designers, make-up artists, choreographers and set technicians. And, in this black box studio, the dream-like imagery, extracted from mythology, symbolism and mysticism directs the narrative in Anahata as it explores human relationships and their connection to the divine.

John Singletary - Anahata, James Oliver Gallery“The Dance of Hades”, 5’x3′ Photography Based OLED Installation.

In John Singletary’s inventive world of Anahata, the artist commands an ancient cry from demons and gods in spear-decorated headdresses and cocoon-like webs that conquer and connect us. From there, he uses an advanced understanding of technology to take us seamlessly forward into a hyper-lit future. With his sensitivity in making this unique grand scale production personal and his exacting print work, the fantasticality in Anahata becomes very real.

John Singletary - Anahata, James Oliver Gallery“Clarise”, 8’x8′ Photography Based OLED Installation.

Thank you to John Singletary for the content of this post.

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Phulkari

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Phulkari: The Embroidered Textiles of Punjab, PMATota Bagh Phulkari, 20th century. Artist/maker unknown, Punjabi. Handspun cotton plain weave (khaddar) with silk and cotton embroidery in darning, buttonhole, and chain stitches, 7 feet 8 3/4 inches × 56 inches (235.6 × 142.2 cm). The Jill and Sheldon Bonovitz Phulkari Collection.

Phulkari: The Embroidered Textiles of Punjab
from the Jill and Sheldon Bonovitz Collection, Joan Spain Gallery, Perelman Building, Philadelphia Museum of Art

Phulkari: The Embroidered Textiles of Punjab from the Jill and Sheldon Bonovitz Collection

Through July 9, 2017

Phulkari, meaning “flower work” (phul = flower, kari = work), is an embroidery originally made throughout Punjab, a region now straddling Pakistan and India. Traditionally, the base cloth was locally handspun and handwoven cotton called khaddar. The thread, called pat, was unplied silk usually imported from China. The dominant embroidery stitch is the darning stitch (a straight stitch in parallel rows), although artists interspersed it with other stitches. Perhaps because of thread’s high cost, most pieces show embroidery only on one side of the cloth.

Phulkari: The Embroidered Textiles of PunjabSainchi Phulkari/Nilak Phulkari, 20th century. Artist/maker unknown, Punjabi. Handspun cotton plain weave (khaddar) with silk and cotton embroidery in darning, running, chain, and buttonhole stitches, glass mirrors, 7 feet 5 inches × 53 inches (226.1 × 134.6 cm). The Jill and Sheldon Bonovitz Phulkari Collection. (click for large image)

Phulkaris were a crucial part of a Punjabi woman’s material wealth. Young girls learned needlework from their older female relatives and friends. Often they made phulkaris for their own dowries, which they brought with them to their husbands’ home when they married. Primarily intended as large shawls worn draped over the head, phulkaris could also function as bedding or wall hangings for special functions. While each phulkari is unique, they may be grouped into types by designs and background colors with names such as thirma (white), sainchi (figurative), or bagh (garden).

Phulkari: The Embroidered Textiles of PunjabDarshan Dwar Phulkari, 20th century. Artist/maker unknown, Punjabi. Handspun, handwoven cotton plain weave (khaddar) with silk and cotton embroidery in darning, pattern darning, buttonhole, herringbone, running and Cretan stitches, 7 feet 5 inches × 50 inches (226.1 × 127 cm). The Jill and Sheldon Bonovitz Phulkari Collection. (click for large image)

Highlighted here are nineteen superb phulkaris from the Bonovitz Collection, promised gifts to the Philadelphia Museum of Art. All were probably created before the Partition of Pakistan and India in 1947.  Also included is a small selection of traditional phulkaris from the Museum’s permanent collection. The exhibition concludes with a creative twenty-first century reinvention of phulkari in the high fashion garments of Manish Malhotra, one of India’s leading designers.

Phulkari: The Embroidered Textiles of PunjabSainchi Phulkari, 20th century. Artist/maker unknown, Punjabi. Handspun cotton plain weave (khaddar) with silk, cotton, and wool embroidery in darning, pattern darning, buttonhole, herringbone, running, chain and Cretan stitches, 7 feet 5 1/2 inches × 48 1/2 inches (227.3 × 123.2 cm). The Jill and Sheldon Bonovitz Phulkari Collection. (click for large image)

This exhibition is made possible by Jill and Sheldon Bonovitz, The Coby Foundation, Ltd., and The Stella Kramrisch Indian and Himalayan Art Fund.

Phulkari: The Embroidered Textiles of PunjabBagh Phulkari, 20th century. Artist/maker unknown, Punjabi. Handspun cotton plain weave (khaddar) with silk embroidery in darning, pattern darning, running, chain and cross stitches, 8 feet 3 3/4 inches × 59 1/2 inches (253.4 × 151.1 cm). The Jill and Sheldon Bonovitz Phulkari Collection.

Phulkari: The Embroidered Textiles of PunjabPhulkari, 20th century. Artist/maker unknown, Punjabi. Handspun cotton plain weave (khaddar) with silk embroidery in running, darning, pattern darning, herringbone, split, stem and cross stitches, 9 feet 5 inches × 58 inches (287 × 147.3 cm). The Jill and Sheldon Bonovitz Phulkari Collection. (click for large image)

Phulkari: The Embroidered Textiles of PunjabPhulkari, Early 20th century. Artist/maker unknown, Punjabi. Handspun cotton plain weave (khaddar) with silk and cotton embroidery in darning, running, herringbone, and double running stitches, 8 feet 6 1/2 inches × 47 1/2 inches (260.4 × 120.7 cm). The Jill and Sheldon Bonovitz Phulkari Collection. (click for large image)

Phulkari: The Embroidered Textiles of PunjabThirma Phulkari, 19th century. Artist/maker unknown, Punjabi. Handspun, handwoven cotton plain weave (khaddar) with silk embroidery in darning, whip, and running stitches, 8 feet 5 inches × 58 inches (256.5 × 147.3 cm). The Jill and Sheldon Bonovitz Phulkari Collection.

Phulkari: The Embroidered Textiles of PunjabChope Phulkari, 20th century. Artist/maker unknown, Punjabi. Handspun cotton plain weave (khaddar) with silk embroidery in double running stitch, 9 feet 8 inches × 69 inches (294.6 × 175.3 cm). The Jill and Sheldon Bonovitz Phulkari Collection. (click for large image)

Phulkari: The Embroidered Textiles of PunjabSainchi Phulkari, Early 20th century. Artist/maker unknown, Punjabi. Handspun, handwoven plain weave (khaddar) with silk and cotton embroidery in darning and chain stitches, 8 feet 3 inches × 52 inches (251.5 × 132.1 cm). The Jill and Sheldon Bonovitz Phulkari Collection. (click for large image)

——————–

1947 to Today

When India gained independence from Great Britain in 1947, Punjab was divided—its western part in Pakistan and its eastern in India. The devastating results of Partition left many millions dead, injured, and displaced. Most families lost their heirloom phulkaris and few women had the time or facilities to embroider, apart from occasional commercial work. Over the past sixty years, Punjabis of all religions—Muslims, Hindus, Christians, and Sikhs (a faith whose holy sites are located in Punjab)—have emigrated throughout South Asia and around the world. Today they are the largest South Asian diaspora. Phulkari embroidery has retained enormous emotional and symbolic significance for all Punjabis and it has been reenvisioned in many ways.

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

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Metal

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Of Metal and Light, Gravy Studio and GallerySage Lewis, sliver gelatin print

Photography Exhibit Of Metal and Light, Featuring Work By Lisa Elmaleh, Sage Lewis, and Lucretia Moroni On Display At Gravy Studio During March

PHILADELPHIA, PA — The Halide Project is pleased to announce its upcoming photography exhibition entitled Of Metal and Light, which will be on display at Gravy Studio & Gallery in Northern Liberties from March 3rd – 26th, 2017.

Of Metal & Light features work by three artists who explore the elementary nature of photography, both chemically and conceptually. Their work demonstrates how choice of material and process is an important—and too often overlooked—factor in image creation.

West Virginia-based artist Lisa Elmaleh will be exhibiting prints from her Everglades series, which celebrates an ecosystem that shaped her personal history as a native of South Florida. Her use of the historic wet plate collodion process, with its slow rendering of light, captures images that show the passage of time.

Vermont-based Sage Lewis painstakingly constructs architectural models and then crushes them, photographing the ruins from various vantage points in order to show divergent views of the same structure. Her evocative, high-contrast gelatin silver prints draw viewers into these constructed worlds and invite them to question just what it is they are seeing.

Lucretia Moroni (based in New York and Italy) approaches photography from a background in the decorative arts, a form that she has practiced for over thirty years. Experimenting with cyanotype and platinum palladium prints made on traditional gold and platinum leaf, her work reflects the interplay between art historical traditions and the more modern tradition of photography, firmly anchoring Lucretia in both realms.

The work will be on view during open gallery hours on Wednesdays through Sundays from noon to 6pm, or by appointment, throughout the duration of the show. The exhibition will open with a reception and artist talk on on First Friday (March 3rd, 6 – 9 PM, talks beginning at 7:30). In conjunction with the exhibit, The Halide Project will be hosting a variety of interactive events, including guided tours, a hands-on photography workshop, an informal group critique, and a trip to the Philadelphia Museum of Art’s study room. Most events are free and open to the public, though some incur a small materials fee. Registration is required for the events and can be made through The Halide Project’s website at www.thehalideproject.org.

Of Metal and Light was made possible by a grant from the Penn Treaty Special Services District. Additional funding was provided by Project Stream, a grant initiative of the Pennsylvania Council on the Arts that is regionally administered by the Greater Philadelphia Cultural Alliance. Additional support for Project Stream is provided by PECO.

Of Metal and Light, Gravy Studio and GalleryLucretia Moroni, Untitled, platinum/palladium print on gold leaf

About The Halide Project

The Halide Project was created in 2015 by Alexandra Orgera and Dale Rio in order to promote the continued practice and appreciation of traditional and alternative photographic processes. Run by a volunteer board of artists, The Halide Project produces two annual exhibitions: a small group invitational and a call-for-entry show, as well as affordable workshops, photographic study sessions, and other casual events throughout the year. Plans for future programming include artist residency opportunities and a dedicated darkroom workspace for community use.

About The Artists

Lisa Elmaleh’s work is an exploration of rural America. Using a portable darkroom in the back of her truck, Elmaleh photographs using the nineteenth century wet plate collodion process. Elmaleh is a West Virginia-based photographer and educator, teaching at the School of Visual Arts and the Penumbra Foundation in New York City. She has been awarded the Aaron Siskind Foundation IPF Grant, PDN’s 30, the Ruth and Harold Chenven Foundation Grant, the Tierney Fellowship, and The Everglades National Park Artist Residency. Her work has been exhibited nationally and internationally, most recently featuring her American Folk project as a solo show at the Appalachian Center, Berea College in Kentucky, and her Everglades project in a group show, Imaging Eden: Photographers Discover the Everglades at the Norton Museum. Elmaleh’s work is in the collection of the Norton Museum, the Ogden Museum, and other private collections.

Sage Lewis is interested in the connections between material process and concept and works through drawing, sculpture, prints, and photography to translate images into multiple outcomes. She recently completed a Project Space Residency at the Visual Studies Workshop in Rochester, New York and 10-month Artist-in-Residence Fellowship at Virginia Commonwealth University in Qatar. While in Qatar she set up a darkroom for students to learn analogue processes and received a faculty research grant to study and teach the process of carbon printing. Recent exhibitions were held at the Denison Museum in Granville, Ohio, the University of Michigan, Ann Arbor and Hamad bin Khalifa University Art Gallery in Doha, Qatar. Lewis holds an MFA in Painting & Drawing from The Ohio State University and a B.F.A. in Painting and Art History from Maine College of Art. She is currently based in Vermont.

Lucretia Moroni was born in Italy and attended the renowned Van der Kelen School in Brussels and continued her training in Interiors with the Renzo Mongiardino architecture firm in Milan. After working with Franco Zeffirelli, she moved to New York in the early 1980’s and has since worked on a large number of private and public projects, including painting 24 Murals at Bethesda Fountain, commissioned by Central Park Conservancy and New York Landmark. After studying photographic processes at International Center for Photography, she is currently experimenting in work that combines photography and the decorative arts.

Of Metal and Light, Gravy Studio and GalleryLisa Elmaleh, Slash Pines, gelatin silver print (from glass wet plate negative)

Details

What: Of Metal and Light, a photography exhibition highlighting the work of three artists using chemistry-based practices.

Where: Gravy Studio & Gallery, 910 N. 2nd Street, Philadelphia, PA 19123

When: March 3rd – March 26th

Regular viewing hours: Wednesday – Sunday, 12 – 6 PM

Opening Reception and Artist Talk: Friday, March 3rd, 6:00 – 9:00pm (talks begin at 7:30)

Related educational events (information available at www.thehalideproject.org):

• Guided tours of the exhibit

• Hands-on Traditional Photography Workshops

• Visit to the Philadelphia Museum of Art Study Room

• Informal Group Critique

Registration and more info: www.thehalideproject.org

Thank you to The Halide Project for the content of this post.

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Form

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Charles Sheeler, Michener Art MuseumBobbi Arnst (click photos for large images)

James A. Michener Art Museum Will Present Groundbreaking Exhibition

Charles Sheeler: Fashion, Photography,
and Sculptural Form 

Multimedia retrospective to display never-before-seen photographs from a modernist icon created during his five-year tenure at Condé Nast

DOYLESTOWN, PA – In March 2017, the James A. Michener Art Museum will present Charles Sheeler: Fashion, Photography, and Sculptural Form, a groundbreaking exhibition that features never-before-seen photographs by Charles Sheeler, one of America’s most celebrated modernists. Inspired by Sheeler’s portrait and fashion work for Condé Nast from 1926 to 1931, the multimedia show will feature a significant display of these newly discovered photographs as well as paintings and other photographs created by Sheeler, 1920s fashion ensembles, and Sheeler-designed textiles. Evoking the exuberance, glamour, and promise of the Jazz Age, the exhibition will be on view from March 18 through July 9, 2017.

Charles Sheeler, Michener Art MuseumAldous Huxley

A Philadelphia native, former Doylestown resident, and Pennsylvania Academy of the Fine Arts alumnus, Charles Sheeler is one of the founding figures of American modernism. In 1910, Sheeler and fellow artist Morton Schamberg searched for a place to retreat from Philadelphia to sketch. They found a creative and inspirational escape in Doylestown, making their home at the historic Worthington House on Mercer Avenue. It was here, a mile and a half from where the Michener Art Museum now stands, that Sheeler began to explore photography in earnest.

Charles Sheeler, Michener Art MuseumIna Clare as Betsy Ross

Sheeler’s fashion and portrait photography for Condé Nast, however, has been almost universally dismissed as purely commercial, a painter’s “day job,” and nothing more. In reality, this commercial work was instrumental in shaping his aesthetic vision. Trained in an impressionist approach to landscape painting, Sheeler experimented early in his career with compositions inspired by European modernism before developing a linear, hard-edged style now known as Precisionism. While working in this mode, he produced powerful and compelling images of the Machine Age: skyscrapers, factories, and power plants, images that established his reputation as a leading figure in American art. Charles Sheeler: Fashion, Photography, and Sculptural Form will show that his dramatic viewpoints, rhythmic patterning, and abstract compositions were influenced by his work at Condé Nast.

Charles Sheeler, Michener Art MuseumMadame Lasse

“This exhibition will show how Sheeler’s modernist vision was refined over the course of his time at Condé Nast,” said Kirsten M. Jensen, Ph.D., the Gerry & Marguerite Lenfest Chief Curator at the Michener Art Museum and curator of the exhibition. “It was while there he fine-tuned his particular style-objective, distant, and rigorously formal-that he then applied to all of his subsequent work.

The core of the exhibition is 85 portraits and fashion photographs from this period, on loan from the Condé Nast archives. Models adorned in jewels and couture gowns, literary giants of the era, and Broadway actors and Ziegfeld Follies dancers: the subject matter is as sensational as the Jazz Age itself. The exhibition also features select prints from Sheeler’s famous Doylestown House series as well as his photographs of modern sculpture and early portraiture, the film Manhatta (a collaboration with Paul Strand), period costumes on loan from the collections of the Museum of the City of New York and Drexel University’s Robert and Penny Fox Historic Costume Collection, and paintings and photographs on loan from the Metropolitan Museum of Art, Whitney Museum of American Art, Columbus Museum of Art, Yale University Art Gallery, Princeton University Art Museum, Philadelphia Museum of Art, and other major institutions.

Charles Sheeler, Michener Art MuseumHelen Menken

“The James A. Michener Art Museum is an especially relevant venue for Charles Sheeler: Fashion, Photography, and Sculptural Form considering Sheeler’s strong ties to the region,” said Lisa Tremper Hanover, director and CEO of the Michener Art Museum. “We’re thrilled to present this unknown body of work in Doylestown, where Sheeler made his first important photographs.”

Complementing the exhibit will be programming that includes lectures, curator talks, a Scholars Day, a film series, musical performances, and a New York-based symposium. For the full schedule, visit the exhibition website at CharlesSheeler.org.

Advance tickets and group tours for Charles Sheeler: Photography, Fashion, and Sculptural Form are available at MichenerArtMuseum.org or by calling 215.340.9800.

A member reception will be held on the evening of March 17, 2017, the day before the exhibition opens for public view. To become a Michener Art Museum member and receive an invitation, visit MichenerArtMuseum.org or call 215.340.9800 x110.

Major support for Charles Sheeler: Fashion, Photography, and Sculptural Form has been provided by The Pew Center for Arts & Heritage, with further support from The Coby Foundation, Ltd., Visit Bucks County, an anonymous donor, and the Bucks County Foundation.

Additional funding has been provided by Bonnie J. O’Boyle and Virginia W. Sigety, Independent cabi Stylist.

In-kind support is generously provided by Condé Nast Editions.

About the James A. Michener Art Museum

The James A. Michener Art Museum collects, preserves, interprets and exhibits American art, and promotes the work of nationally and internationally known Delaware Valley artists of all eras and creative disciplines. The museum presents exhibitions that explore a variety of artistic expressions and offers diverse educational programs that develop a lifelong involvement in the arts. Throughout the year, the Michener Art Museum hosts a wide range of programs open to the public, including lectures, artists conversations, gallery talks, artist studio tours, dance performances, jazz performances, family-themed activities, and other events. The museum also offers diverse selection of art classes for children and adults, which include instruction in drawing, painting, sculpting, and printmaking as well as programs for the public, schools, and teachers designed to support arts education. The James A. Michener Art Museum is accredited by the American Alliance of Museums.

The James A. Michener Art Museum is located at 138 South Pine St., Doylestown, PA. The Museum is open Tuesday through Friday, 10:00 am – 4:30 pm; Saturday, 10:00 am – 5:00 pm; and Sunday, noon – 5:00 pm. For more information, visit MichenerArtMuseum.org or call 215.340.9800.

Twitter: @MichenerArt

Facebook: MichenerArtMuseum

Instagram: michenerart

Thank you to Christine Triantos, James A. Michener Art Museum, Associate Director, Marketing and Communications for the content of this post.

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Innovation

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Keith & Kathy Sachs, Howard HodgkinHoward Hogkin, Portrait of Keith and Kathy Sachs, 1988 – 1991, Philadelphia Museum of Art

Penn Announces Sachs Program for Arts Innovation

University of Pennsylvania President Amy Gutmann and Provost Vincent Price have announced the creation of the Sachs Program for Arts Innovation.

Founded with a commitment of $15 million from alumni Keith L. Sachs and Katherine Sachs, this transformative gift – the largest gift ever made across the arts at Penn – will establish the Sachs Arts Innovation Hub and closely link arts education to the Penn Compact 2020’s goal of advancing innovation across the University.

“Creativity is the very soul of innovation, and what is art but creativity made manifest?” Gutmann said. “Keith and Kathy are among the undisputed patron saints of the arts at Penn, and their latest extraordinary generosity will transform how we understand, teach and break new ground in the arts. The Sachs Program for Arts Innovation promises to empower a new wave of artistic and ingenious creation at Penn.”

The new Sachs Arts Innovation Hub, to be located in the Annenberg Center for the Performing Arts, will aim to visibly energize the arts and arts innovation at Penn. It will integrate research, teaching and practice, working collaboratively with faculty, students, arts and culture leaders and the Provost’s Arts Advisory Council, while building on the highly successful initiatives of the three-year Art and Culture Initiative sponsored by the provost and the School of Arts & Sciences.

“This tremendous gift comes at an especially exciting time for the arts at Penn,” Price said. “It allows us to integrate and amplify the wide range of activity already underway in our world-leading arts institutions and academic departments – and in a city bursting with unrivaled arts opportunities – creating a whole decidedly greater than the sum of its parts. The longtime leadership of Keith and Kathy Sachs across the ICA, Penn Design and the School of Arts & Sciences has set the stage for this new era, and we are all indebted to their generosity and vision.”

Led by an executive director, to be appointed through a national search, the Sachs Program will expand sustainable curricular innovation in the arts across the University, including grants to develop courses, workshops, master classes and other learning opportunities; encourage hands-on artistic production and public art spaces; foster cross-campus collaborations, especially between arts centers and academic programs; appoint artists in residence and other new faculty members; and build community and new audiences for the arts at Penn.

The Sachs Program for Arts Innovation culminates more than a decade of support for the arts at Penn from Keith and Katherine Sachs. These major gifts, which have transformed the landscape of arts education on campus, include the Sachs Guest Curator Program at the Institute of Contemporary Art, the Sachs Professorship in Contemporary Art in the Department of History of Art in the School of Arts & Sciences and the Fine Arts Program Fund and Visiting Professorship in the Department of Fine Arts in the School of Design. The Sachs’ vision has been to expand arts programs across the University by integrating the ICA, the Department of Fine Arts and the Department of History of Art and bringing outstanding artists to teach on campus.

“We believe strongly that the arts are essential to the core mission of education,” Keith Sachs said. “The very best students seek out a university with a vital arts program. At the same time, the arts are central to advancing key Penn values, such as diversity, innovation and integrating knowledge.”

“We are especially pleased,” Katherine Sachs said, “that our gifts to the arts create synergies and new ideas across campus. These connections foster the creativity and imagination that our students need to become the leaders of an ever-changing world.”

Keith Sachs is former CEO of Saxco International, member and former chair of the School of Design Board of Overseers and a trustee of the Philadelphia Museum of Art. He is a longtime leader of the Class of 1967 Gift Committee, which he is chairing during its 50th-reunion year. Katherine Sachs, an adjunct curator at the Philadelphia Museum of Art for many years, is an emeritus member of the University Board of Trustees, a member of the University’s Design Review Committee and a member of the ICA Board of Overseers, which she formerly chaired.

Thank you to Penn News Service for the content of this post.

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