Beginning January 19, the Addison Gallery of American Art will welcome two new winter exhibits, “Eye on the Collection” and “Stone, Wood, Metal, Mesh: Prints and Printmaking.” The Andover community is invited to enjoy distinct pieces of American art at the Addison’s triannual opening reception on February 1 at 6:00 p.m. Eye on the Collection “Eye on the Collection” will display the best of the Addison’s vast collection, which primarily consists of 19th and 20th century paintings. According to Susan Faxon, Associate Director and Curator of Art before 1950, the exhibit will be comprised of a variety of media that visitors love to see when they come. The room will be aesthetically arranged with each wall devoted to a particular medium. The exhibition will feature well-known 19th century paintings, such as Winslow Homer’s “The Country School,” George Inness’ “The Monk” and John Henry Twatchtman’s “Hemlock Pool,” as well as 20th century masterpieces that include Hans Hofmann’s “Exaltment” and Jackson Pollock’s “Phosphorescence.” Pollock’s “Phosphorescence” is one of the most popular pieces owned by the Addison, partly because it tells a vivid story about the atomic age. Dominated by splashes of metallic paint and strong, dark brush lines, the painting is almost overpowering in composition. Stone, Wood, Metal, Mesh: Prints and Printmaking Displaying a variety of animal silhouette prints made from woodcuts and screen prints, “Stone, Wood, Metal, Mesh: Prints and Printmaking Collection” will chronicle the transformation of printmaking techniques over the course of two centuries. Running from January 19 to March 17, the exhibit will display 150 pieces that include early wood engravings by notable American patriot Paul Revere and mezzotints by Charles de Saint Memin, as well as contemporary works by iconic artists such as Andy Warhol, Chuck Close and Frank Stella, according to the Addison’s website. Other than focusing on the intricacy of the prints and engravings, the exhibit will also shine some light on the complex artistic process of printmaking. “Even something as simple as a copper engraving that was meant to be used for mass production and to be reproduced in multiples could be very interesting. It’s very fluid and linear because [copper engravings] are made by incising wax on top instead of artless gouging of pure metal,” said Faxon. A gallery discussion about the prints will be moderated by Faxon on February 15. Shay Collins contributed to reporting.
