Edward Willis Redfield (American, 1869-1965), Winter in the Valley, c. 1920s, oil on canvas, 36 x 50 inches, Museum Purchase, Reading Public Museum, Reading, Pennsylvania.

American Impressionism: The Lure of the Artists’ Colony

Organized by the Reading Public Museum, Reading, Pennsylvania

December 9 – February 19, 2017

Dorothy Jenkins Gallery & Gallery II

This comprehensive exhibition features one of the Reading Public Museum’s greatest strengths – its collection of works by American Impressionists. The exhibition includes more than one hundred total works, including more than eighty oil paintings and nearly thirty works on paper dating from the 1880s through the 1940s. Outstanding landscapes – ranging from snow covered hills to sun filled harbors – seascapes, penetrating portraits, and remarkable still lifes, imbued with rich textures, reveal the artists’ interest in capturing effects of light and atmosphere in their work.

The exhibition is arranged according to the artists’ colonies that played a critical role in the development of American Impressionism including those at Cos Cob and Old Lyme in Connecticut; Cape Cod, Cape Ann, and Rockport, in Massachusetts; New Hope and Philadelphia in Pennsylvania; Taos, New Mexico; and California. In addition, American expatriate artists such as Mary Cassatt and John Singer Sargent are examined.

Other leading artists of the movement include William Merritt Chase, Childe Hassam, Ernest Lawson, Julian Alden Weir, John Twachtman, Chauncey Ryder, Frank W. Benson, William Paxton, Abbott Thayer, Guy Wiggins, Charles Webster Hawthorne, Colin Campbell Cooper, Daniel Garber and Edward Redfield, among others.

 
 

Exhibitions Partner:

Exhibition Sponsors:

Annual Exhibition Fund Donors:

Barney's Pumps, Inc.
Dorothy Chao Jenkins
CNP · Clark/Nikdel/Powell
Core Wealth Advisors, Inc.
Margaret M. Decker Foundation
Eaglebrooke
Furr & Wegman Architects, PA
The Thelma C. Kells Endowment Fund
within the Give Well Community Foundation
MIDFLORIDA
Robert & Malena Puterbaugh
Dr. Alan & Linda Rich Fund
within the Give Well Community Foundation
Rodda Construction, Inc.
Share Foundation
Southern Homes
Kerry & Buffy Wilson


Iva Gueorguieva, Mute Walk, 2015, 3-run, 6-color direct gravure with aquatint, spit bite aquatint and drypoint, Polk Museum of Art Permanent Collection 2016.7, Purchased with funds donated in honor of Livia Rey Justice © Iva Gueorguieva

Recent Acquisitions

January 21 - April 23, 2017

Perkins Gallery

As a non-profit art museum, Polk Museum of Art is largely reliant on the generosity of its community. Thankfully, the Museum has been blessed with an incredibly supportive community. New artworks added to the Permanent Collection are typically donations or are purchased with funds that have been donated. Donated artworks go through an intense selection process before being added to the Permanent Collection; in order to ensure the strength of the Collection, each artwork must be approved by the Executive Director, the Collections Committee, and the Board of Trustees. 

Currently, the Permanent Collection consists of over 2,300 artworks, and usually only 10-15% of these artworks are on display at one time. This exhibition will showcase some of the artworks that have joined the Museum's Permanent Collection in the last four years.


Alison LaMons, Joy, 2016, Watercolor on paper with iridescent medium, 22" x 30"      © Alison Studios

Neon Nostalgia: Works by Alison LaMons

December 10, 2016 - March 12, 2017

Murray & Ledger Galleries

Alison LaMons, a local emerging artist, uses vibrant watercolor to paint neon signs, both real and imagined. LaMons feels that combination of text and iconography in neon signs gives her the freedom and the vocabulary to shape her message.

Georges Claude displayed the first neon lamp to the public on December 11, 1910, in Paris. Roughly a century later, neon lighting is becoming a thing of the past. For LaMons, a neon sign is the perfect metaphor for life in the 20th century – a “quintessential artifact of a culture, a century, and a country.” It encapsulates our consumerism, artificiality, and the ephemeral nature of it all.

“This is neon. It tells the story of our lives. It shows us all of what we are (the glory as well as the grit), how we live in all its facets and from where we have come in one hundred years of modern and post modern history.”

This exhibition is part of The Arts on the Park Series.

 

Exhibition Partner:

Exhibition Sponsors:

 

Annual Exhibition Fund Donors:

Barney's Pumps, Inc.
Dorothy Chao Jenkins
CNP · Clark/Nikdel/Powell
Core Wealth Advisors, Inc.
Margaret M. Decker Foundation
Eaglebrooke
Furr & Wegman Architects, PA
The Thelma C. Kells Endowment Fund
within the Give Well Community Foundation
MIDFLORIDA
Robert & Malena Puterbaugh
Dr. Alan & Linda Rich Fund
within the Give Well Community Foundation
Rodda Construction, Inc.
Share Foundation
Southern Homes
Kerry & Buffy Wilson


Monkey Business: Ruben Ubiera at Polk Museum of Art

Ruben Ubiera, Monkey Business, Painted mural, 16' x 24'.

For the first time in its 50 year history, the Polk Museum of Art partnered with an accomplished Florida artist to produce an on-site, large-scale interior mural. Florida artist Ruben Ubiera designed and created a unique mural measuring 16’ x 24’ directly onto one of the Museum’s most prominent walls. The Museum will  remain on view through the end of the year. This is the Museum's first on-site mural project and Ubiera's first major museum commission. 

About the Artist

Given its history of support for accomplished Florida artists, the Polk Museum of Art has chosen to work with Miami artist Ruben Ubiera. A native of the Dominican Republic, Ubiera moved with his family to the Bronx, NY, where he was influenced by the city’s gritty street graffiti. Now working in Miami’s Wynwood Art District, Ubiera contributes to the area’s recent nomination as a capital for sophisticated public street art. Inspired by man’s relationship with the urban environment, Ubiera combines concept and technique with narrative and an old-school essence of graffiti. This new style of street art is often referred to as Postgraffism, or according to Ubiera “urban-pop.” His murals embody a new spirit of urban aesthetic, distanced from the old perceptions of unrefined graffiti. He considers himself one of the “neo-illustrators and designers who are experimenting with new media, but have been influenced by graffiti . . .” He has certainly distinguished himself as belonging to a new generation of street artists. You can learn more about Ruben Ubiera at his website, http://www.urbanpopsoul.com.

Special thanks to the community of supporters who made this project possible through donations to the Museum's Kickstarter campaign.


Hung Liu, Working Women: Millstone

Taxdal Gallery

Hung Liu, Working Women: Millstone, 1999, Color softground and spitbite aquatint etching with scrape and burnish, Polk Museum of Art Permanent Collection 2007. 9.2, Purchased through the Art Resource Trust © Hung Liu

January 11 - April 9, 2017

Hung Liu was born in Changchun, China in 1948. She grew up in Beijing during the time Chairman Mao and the People’s Republic of China. During the Cultural Revolution, she was assigned to work with peasant farmers who became the subject for many of her early photographs and drawings. Liu eventually enrolled at the Revolutionary Entertainment Department of Beijing's Teachers College to study art and education. After graduating in 1975 she began teaching art at an elite Beijing school, Jing Shan, but later attended the Central Academy of Fine Arts where she majored in mural painting. In 1980 she began studies in the visual arts program at the University of California, San Diego.

This particular print references the pivotal, yet often overlooked, role women played in traditional Chinese culture. It is one of several tributes by Liu to the manual labor performed by women throughout China’s history, but especially during the Cultural Revolution. She chose the mundane act of milling and left the laborers anonymous in order to emphasize the universality of the scene. One of Liu’s primary intentions behind works such as Working Women: Millstone is to explore the conflicts between personal and national identity.


Donald Sultan, Morning Glories, 1991, Ink, chalk, graphite on paper, Polk Museum of Art 2007.1, Gift of Clifton and Dolores Wharton © Donald Sultan

Donald Sultan, Morning Glories

Hollis Gallery

January 12 - April 9, 2017

Sultan’s still-life compositions, which range from huge pieces of fruit, vegetables, and eggs to dominos and flowers, dominate the surface of his paintings, drawings, and prints. Their bold forms demand attention by virtue of their medium, color, and size. While his works deal with recognized forms, they simultaneously and successfully combine the representational with the abstract. In Morning Glories, a sense of organic beauty is maintained even as the image is limited to black circles with white centers against a black and white patterned background.

Sultan earned a BFA degree from the University of North Carolina at Chapel Hill in 1973 and an MFA from the Art Institute of Chicago in 1975. While still in school, Sultan grew dissatisfied with traditional methods of painting and began experimenting in technique, surface, and media, which eventually led him to use industrial tools and materials. Sultan was one of the first to employ a wide range of industrial tools and materials, particularly tar, in lieu of traditional brushes and paints.


Harrison School for the Arts Senior Exhibition

Student Gallery

January 28 - February 26, 2017
Reception: Friday, February 10, 2017, 6pm

Senior visual art students present their graduating body of artwork from the Harrison School for the Arts.

For more information about our Student Gallery, visit our Student Gallery page.

 

Sponsored by: MIDFLORIDA Credit Union


Continuing Exhibitions


Remojadas Culture, Seated Male Figure, 500-700 CE, Ceramic, Polk Museum of Art Permanent Collection 1983.1.6, Gift of Dr. and Mrs. David Taxdal.

Ancient Art of the Americas

David and Lucia Taxdal Pre-Columbian Gallery

Ancient Art of the Americas, a refocused installation of the Museum’s collection of Pre-Columbian artworks which was completed in December 2000, and updated with recent acquisitions in March 2003, features a comprehensive overview of artifacts from Mexico, Central America, Colombia and Peru. The gallery is divided into two themed rooms. Warriors, Priests, and Rituals presents effigies related to those three categories, including bound prisoners, warriors ready for battle, and priest figures. The second room is arranged geographically, with artifacts grouped according to the current name of the country in which they were found. This arrangement allows visitors to see how cultures that were geographically close influenced each other. This room also contains an archaeology display which explains how scientists uncover and interpret artifacts like those in the gallery.

 

Sculpture Court

Contemporary works by  by James Bassham, Jane Jaskevich, Fonchen Lord, Carol Brown and Michael Mick are featured in the Museum's permanent outdoor exhibition space.

Material World: A Global Family Portrait

Marks Gallery

The Material World: A Global Family Portrait exhibition is the result of American photojournalist Peter Menzel’s project to help viewers grasp a sense of cross-culture realities and to celebrate our common humanity. Sixteen of the world’s foremost photographers traveled around the world, visiting thirty different countries to live for a week with families that are statistically average for that nation. At the end of each visit, the photographer and subjects collaborated on the Big Picture, a remarkable portrait of the family outside of its home, surrounded by all of its possessions. This exhibition is an attempt to capture through photos and statistics, both the common humanity of the peoples inhabiting our Earth and the great differences in material goods and circumstances that make rich and poor societies.

Hungry Planet: What the World Eats

Marks Gallery

For the first time in history, more people are overfed than underfed. And while some people still have barely enough to eat, others overeat to the point of illness. To find out how mealtime is changing in real homes, authors Peter Menzel and Faith D’Aluisio visited families around the world to observe and photograph what they eat during the course of one week. During their project, they sat down to eat with twenty-five families in twenty-one countries.

As Peter and Faith ate and talked with families, they learned firsthand about food consumption around the world and its corresponding causes and effects. The resulting family portraits, which are displayed in this exhibition, offer a glimpse into the cultural similarities and differences served on dinner plates around the globe.

This show joins Material World: A Global Family Portrait in the Marks Gallery to stimulate further thought and discussion about cultural commonalities and differences.