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Emerson Woelffer Claes Oldenberg Untitled, 1977 Study for Poster of Dropped Bowl with Torn paper collage Scattered Slices and Peels, 1998 23 ½ x 17 ½ inches Charcoal and pastel on paper Collection of Michael and Ilene Salcman, Baltimore, Maryland 40 x 28 inches Collection of Tom and Kitty Stoner David Plumb Cremation Triptych: David, Katherine, Jim, 1979 Mark Lombardi Graphite on paper Ron Rewald & Bishop Baldwin Rewald Dillingham & 6 x 18 ¾ inches total Wong of Honolulu c. 1978-83 (3rd version), 1999 Academy Art Museum, Gift of the artist in honor of Graphite on paper Christopher J. Brownawell for his service to the museum 18 x 24 inches Courtesy of the artist’s estate and Gallery Joe, Philadelphia ExhibitionSponsors Vito Acconci Untitled, 1983 John Isherwood Graphite on graph paper Drawing, 2005 12 x 11 inches Acrylic and wax on paper Collection of Susie Hennessy and Michael Harrigan 20 x 15 ½ inches A Museum Friend Academy Art Museum, Promised gift of Rima Z. Parkhurst Maryland State Arts Council Michael Harrigan Talbot County Arts Council it sometimes happens that way #3, 1983 Susan Schwalb Conté crayon, graphite, tracing paper, and ink on paper Diary 2006, 2006 11 x 14 inches Leather box with 50 drawings, each mixed metalpoint Collection of the artist on clay-coated paper Each drawing: 3 ½ x 3 ½ inches Michael Harrigan Collection of the artist it sometimes happens that way #7, 1983 Conté crayon, graphite, tracing paper, and ink on paper Marietta Hoferer 11 x 14 inches 13, 2008 Collection of the artist Tape and pencil on paper 22 x 22 inches Susie Hennessy Academy Art Museum, Gift of the artist Feast of St. Ambrose, 1986 Prismacolor and graphite on paper Nicole Phungrasamee Fein 106 South Street 60 x 40 ½ inches 1102008, 2008 Collection of the artist Watercolor on paper Easton, Maryland 21601 15 x 15 inches Tim Rollins and K.O.S. (Kids of Survival) Courtesy of the artist and Gallery Joe, Philadelphia Study for Amerika, 1988 410-822-ARTS (2787) Watercolor on printed paper JK Keller 7 5/8 x 5 inches Echo #4 www.academyartmuseum.org Collection of Michael and Ilene Salcman, Baltimore, Maryland Oil and dirt on paper, 2005 8 ½ x 11 inches [email protected] Paul Jenkins Collection of the artist Phenomena Eastern Star, 1989 Watercolor on paper JK Keller Gallery Hours 30 x 22 inches Echo #12 (2009 04 22 - 2009 12 02) Tuesday through Thursday 10am-7pm Collection of Robin Rowan Clarke and Thomas Crawford Clarke Oil and dirt on paper, 2009 8 ½ x 11 inches Monday, Friday & Saturday 10am-3pm James Plumb Collection of the artist Cero, 1992 Graphite on three-ply plate Bristol Sharon Louden The Academy Art Museum is supported by a grant from the Maryland State Arts Council, 21 ½ x 34 ½ inches Untitled, 2009 Collection of the artist Watercolor and acrylic on paper an agency funded by the State of Maryland and the National Endowment for the Arts. 9 x 20 inches Grace Hartigan Collection of the artist Woman with Cowl, 1995 Watercolor on paper Sharon Louden 29 x 29 inches Untitled, 2009 Academy Art Museum, Promised gift of Ken Warwick Watercolor and acrylic on paper 9 x 20 inches Jacob Lawrence Collection of the artist Figure Study after Vesalius (Profile with Plumb-bob), 1996 Modern Drawings: Tracing 100 Years Graphite on paper 9 1/2 x 6 1/2 inches Academy Art Museum Courtesy DC Moore Gallery, New York February 13 - April 2, 2010 fluidity and brilliance that watercolor can convey. In 2005, Jacob Lawrence Modern Drawings: Tracing 100 Years the sculptor John Isherwood reminds us that abstraction is Figure Study after Vesalius Modern Drawings: Tracing 100 Years now an accepted exercise in media beyond painting. (Profile with Plumb-bob), If the late 1940s and 1950s ushered in abstraction, it is 1996 The inspiration for Modern Drawings: Tracing 100 Years Picasso has come to epitomize it. Picasso’s Seated Ac- Graphite on paper Chronological Checklist worth noting that previous traditions were not abandoned began from a desire to display a group of the Academy robat is a drawing that belongs to a phase of the artist’s 9 1/2 x 6 1/2 inches en masse. Many artists retained their allegiance to real- Art Museum’s recent acquisitions. In particular, the initial career that is among his most revered: the Neoclassical Courtesy DC Moore Gal- Claribel Cox Schofield John Steuart Curry ism. Among those, Elisabeth Frink, Jacob Lawrence and chronological bookends were two drawings: Pierre Bon- period. While Picasso fashioned visual fracturing in his lery, New York Nude Pregnant Woman, 1896 State Fair #1, 1940 Philip Grausman unfailingly found inspiration in the figure. Charcoal on paper Watercolor and pencil on paper nard’s View of the Seine, from 1913, and Marietta Hoferer’s Cubist phase early in the twentieth century, this Acrobat Whereas Grausman’s drawings have been called “essays 24 9/16 x 16 ¾ inches 8 x 26 ¼ inches 13, from 2008. While the Museum has a significant drawing shows a mastery of economy and line. With a single in pure line,” Frink and Lawrence use bolder strokes to Academy Art Museum, Gift of Robert G. Shannahan Academy Art Museum, Purchased with support from the collection, with the addition of loans, it became apparent contour Picasso imbues the acrobat with a presence and reflect on the frailty of the condition. James and David Acquisitions Fund that a more comprehensive exhibition could be displayed. palpable mood. Then with a quick succession of strokes Plumb, two long-standing painters, demonstrate their Charles Dorman Robinson he reinforces volume and Six works, each with pastel and graphite, 1906 Walt Kuhn mastery of time-honored artistic skills and practice: obser- shadow to underscore the ironic Burning of San Francisco The Riding Master – Rehearsal, 1941 vation, understanding of the old masters, and drawing. quiet of this isolated performer. New Hall of Justice Burning Pen, ink and watercolor on paper Similarly, Keith Morrow Mar- Burning of the Emporium and Flood Building 9 ¾ x 14 ¾ inches Through the 1960s, 1970s and later, the encompassing Ruins of Telegraph Hill and Chinatown, San Francisco Academy Art Museum, Gift of Bennard Perlman tin’s Gladys Phillips #4 from a art historical categories of abstraction and realism were Burning of Call Building, San Francisco decade later employs a similar splintered into countless art movements. While it is not Each drawing: 10 x 12 ¾ inches or 12 ¾ x 10 inches Robert Riggs shorthand, but with color. Still, possible to give an example of every trend, this exhibition Academy Art Museum Home Run, circa 1945 the mood is eerily similar. As such, this drawing and others serve as the physical does present a sliver of those produced during the afore- Watercolor and gouache on paper manifestation of the desire to bring social awareness to 16 x 22 inches mentioned decades. Claes Oldenburg’s study for a bowl Pierre Bonnard Following the infusion of picto- the viewers. View of the Seine from Bonnard’s Garden in Vernon, Academy Art Museum, Gift of Brig. Gen. Robert M. Helms of fruit depicts a pottery shard and an orange after they rial modernism in the United 1912-1913 dropped to the ground and bounced up. This playful study States, many of its prominent Mark Lombardi and JK Keller further advance the Pencil on paper Franz Kline and its subsequent commission have their roots in Pop Art 10 x 12 ¾ inches H. Daum: Black and White Abstract, 1950 artists, including John Steuart umbrella term of Conceptual Art. For example, imagine where ordinary objects can take on unexpected promi- Academy Art Museum, Purchased with support from the Watecolor and gouache on heavy brown paper laid down Curry and Robert Riggs retreat- asking a perplexing question such as, “How would you nence. Susie Hennessy, not unlike Oldenburg, depicts Acquisitions Fund on cardboard ed to a style called Regional- draw a Ponzi scheme or what would it look like?” In the common objects and returns their scale to the ordinary, 14 x 11 inches The earliest sheet in Modern Drawings is Claribel Cox ism. Through WPA projects, including murals and prints, hands of Lombardi, it becomes a linear constellation similar to her contemporary Photorealists. In a break from Arthur Bowen Davies Collection of Joan Scobey, New York, NY John Steuart Curry Schofield’s Pregnant Regionalism returned to the narrative and embraced of the names linked in a financial quagmire. Keller’s Venice, not dated the straightforward, the hues in Hennessy’s Feast of St. State Fair #1, 1940 Woman from 1896. purely American subjects. Curry’s State Fair #1 is a output differs in spirit. Echo #4 and #12 are sheets of Watercolor and crayon on paper Isabel Bishop Watercolor Ambrose are given intensity with Prismacolor pencils. The work is an ac- mural study executed in Wisconsin, far from the glare of paper that temporarily stood in for his mouse pad. As 5 5/8 x 9 1/8 inches Study for Homeward, circa 1950-1951 Academy Art Museum purchase with In Robert Smithson’s study for Spiral Jetty, we have the complished, though New York. Here Curry mapped out a metaphorical story such the oil and accumulation on his hand “created” Academy Art Museum, Gift of Bennard Perlman Oil on paper support from the Acquisition Fund pleasure of seeing the genesis of one of the most famous 16 ½ x 20 ¾ inches not uncommon, figure meant to encourage young people to work the indige- the image. Because Keller chose the medium and used works of Earth Art (the realized piece is 1500 feet long) Arthur Bowen Davies Collection of Margo and Ben Tilghman study from an art studio setting.
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