BEYOND THE WALL: TEN ARTISTS FROM BERLIN
Traveling Exhibition
coordinated by the Philip and Muriel
 Konrad Knebel, "Demolished Courtyard",1993.
Tempra on paper, 9 3/4 x 10".
Collection of the artist. |
Berman Museum of Art,
Ursinus College
German House Gallery, Consulate of the
Federal Republic of Germany, New York, New York
June 12 - 27, 2001; Opening Reception Tuesday June 12, 2001 5:30 pm
Goethe Institute, Washington D.C., Spring
2002
Curated
by Dr. Sibylle Badstubner-Groger, art historian, and Dr. Hilary Braysmith, Assistant
Professor of Art History, University of Southern Indiana, this installation
of work is by 10 contemporary working artists who established their careers
in Berlin prior to the collapse of East Germany and continue to create compositions
that are evocative of their cultural, social, and political climate. The installation
focuses on the comparison of works created before and after 1989 when working
conditions, quality and types of materials, exhibition opportunities, and patronage
dramatically changed with the destruction of the Wall.
TO PARIS AND BACK: ALBERT JEAN ADOLPHE
- AN ARTIST'S JOURNEY
June 1 - August 31, 2001
 Albert
Jean Adolphe,
"Belgian Street Scene", 1944.
Oil on canvas, 18 x 15". Philip and Muriel Berman Museum of Art.
Promised gift of Muriel and Philip Berman. |
Main Gallery
Gallery
Talk and Reception: Thursday June 21, 2001 5:00 p.m.
Curated
by Ursinus Assistant Professor of Art History, Pamela Potter Hennessey, and
researched by Ursinus students, the installation draws from over 300 paintings,
drawings, and artifacts from the permanent collection of the Berman Museum of
Art. Studio Art Professor Ted Xaras contributes historical context and designs
a 19th century working studio to show a relevant working environment
of the period. The installation chronicles Adolphe's early years in Philadelphia
through his study and travels in Europe. During the Ursinus Summer in Provence
2000 program, Potter Hennessey explored Adolphe's France experience
documenting his studio and artistic practices.
Catalogue text by
Dr. Pamela Potter-Hennessey
FRANÇOISE GILOT: 1940-1950
 Francoise Gilot,
"The Constructor", 1944.
Oil on Canvas, 231/2 x 361/4".
Collection of Francoise Gilot. |
July 10 - September 23, 2001
Upper Gallery
Opening Reception and Gallery talk by F. Gilot Archives
Curator Mel Yoakum, Ph.D.: Tuesday July 10, 2001, 4:30 p.m.
Lecture: Francoise Gilot - The Early Years, Mel Yoakum,
Ph.D., Friday September 21, 2001, 4:30 p.m., Olin Auditorium; Book Signing and
Reception, Main Gallery, 6:00 p.m.
Annual Friends Event and Museum Benefit Dinner: Saturday
September 22, 2001 with special guest Françoise Gilot; 6:00 p.m. by special
invitation
This
installation is comprised of drawings, gouaches, and oils from 1940-1950 and
include landscapes, still lifes, and portraits of her children Paloma and Claude.
Elements from her environment in the south of France, the beginning of an iconography
that carries through her work today, and a joyous approach to line characterize
these early compositions.
CHALLENGE VI: ROOTS: INSIGHTS AND INSPIRATIONS
IN CONTEMPORARY TURNED OBJECTS
 Louise Hibbert,
"Cinachyra Box" (detail), 2000.
Sycamore, blackwood, polyester resin and acrylic ink, 41/4"
diameter.
Lent by the artist. |
September 8 – November 11, 2001
Main Gallery
Catalogue
World Turning Conference, Reception, and Banquet: Saturday
September 8, 2001; Art Fair: 10:00 am - 4:00 p.m.; Gallery Talk, 4:00 p.m.;
Reception, 5:00 - 7:00 p.m.; Banquet, 7:30 p.m.
Curated
by Christopher Tyler and Michelle Holzapfel, with critical commentary by Robin
Rice, Challenge VI showcases over 80 works by 50 artists from 8 countries.
The compositions selected present myriad sources of inspiration, a variety of
turning techniques and unpredictable combinations of materials and finishes.
The installation includes works from both established and emerging international
artist who seek to redefine function, decoration, and sculptural forms.
Along with submitting a selection of turned work, the artists were charged to
explain and document images of their source/s of inspiration for a specific
piece they created. These sources will be displayed in context with the
objects in the exhibition. For more information visit:
Wood Turning Center
PLACES: PAINTINGS BY LEE COHEN
 Lee Cohen, "Longwoods
May", 1999
Watercolor,27 x 39". Lent by the artist. |
October 2 - December 2, 2001
Upper Gallery
Opening
Reception: Sunday October 7, 2001 3:00 - 5:00 p.m.
Cohen,
originally from Southeastern Pennsylvania and currently a resident of Texas,
began her painting career later in life and studied at the Pennsylvania Academy
of the Fine Arts. While representational in nature, Cohen's compositions of
the landscape are approached with unusual vantage points and a focus on natural
patterns. During her travels in the United States and abroad (and the countryside
surrounding her home in Pennsylvania), she has documented the distinct landscapes
she experienced in watercolor and oil.
Essay by Lee
Cohen
JUDY CHICAGO'S "RESOLUTIONS: A STITCH
IN TIME"
 Judy Chicago, "A
Chicken in Every Pot", 1998.
Painting, needlepoint, appliqué and embroidery, 24 x 18".
Collection of the artist and needleworkers. |
Organized by The American Craft Museum, New York
November 17, 2001 - February 10, 2002
Main Gallery
Opening Reception and Lecture:
Friday November 16, 2001
Jane Thompson, Needle
Worker, for a Lecture and Tours of the exhibition: Friday January 25 and
Saturday January 26, 2002.
Reserve Tour Slots for Friday
and Saturday by calling: 610-409-3500
"A
Stitch in Time Saves Nine" says the old adage, but what are the uses of
those stitches when they are applied to social context? Judy Chicago, one of
American's most visible conceptual artists, employs works she created, in collaboration
with maestra needleworkers from
some of her previous projects, to reinterpret age-old adages in the context
of hope for a better future. The needlework titles include such adages as "Live
and Let Live, "Turn Over a New Leaf", "Find it in Your Heart",
and "It's Always Darkest Before the Dawn". The combination of text,
Chicago's paintings, and virtuoso stitchers create stunning works that can act
as guides that point toward a happier life. The series is meant to
function as post-modern folk art and Chicago's images transform the clichés into
guiding social principles. The installation environment will also feature
a video on the process of the evolution of the theme and the compositions.
For more information visit:
Through the Flower
HANS MOLLER: PURVEYOR OF COLOR—THE
ESSENCE OF A VISION 1943-1995
February 20 - April 14, 2002
 Hans
Moller, "Mechanical Objects", 1943. Gouache,
20 x 16". Estate of the Artist. |
Main Gallery
Catalogue
Opening
Reception: Friday February 22, 2002 6:00 - 8:00 p.m.
Curated by Valerie
Livingston, Ph.D. and circulated by the Lore Degenstein Gallery of Susquehanna
University
German-born artist Hans
Moller (1905-2000) arrived in New York in 1933 and vigorously explored stylistic
variations on the avant-garde movements that had been rejected by the rising
Third Reich in Nazi Germany. This retrospective exhibition of over 60
compositions reveals the dynamic of Moller's passion for abstraction, vivid
color, and a calligraphic, expressive use of line. From Surrealism to
Abstract Expressionism, Moller's intellectual interaction with the established
artists of these periods provided a foundation for his own explorations.
Moller's work was well received by the New York critics and from the 1940's to
the early 1990's he was featured regularly in one person exhibitions. The
artist relocated his studio to Allentown, Pennsylvania in 1968 where he lived
until his death at the age of 95 in the year 2000. This installation will
be enhanced by the loan of additional paintings from museum holdings across the
country.