James A. Michener Art Museum James A. Michener Art Museum
Doylestown, PA
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James A. Michener Art Museum
138 S. Pine St.
Doylestown, PA 18901

Email: info@michenerartmuseum.org


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Frank Hyder: The Janis Project

Leslie Pontz: Integration

30 Years: Art at the Michener, 1988-2018

Impressions on Paper: Henry Snell


Frank Hyder: The Janis Project
November 10, 2018 - February 23, 2019
Pfundt Gallery and Sculpture Garden

Curated by Louise Feder, Guest Curator

Frank Hyder, who splits his time between Philadelphia and Miami, has become known for working across a variety of media. His paintings and sculpture have been widely exhibited in venues such as the Pennsylvania Academy of Fine Art’s Museum of American Art, the Carnegie Museum in California, the La Salle Museum of Art in Philadelphia, and the National Museum of Catholic Art and History in New York among others. Hyder has also created several public art works, including three murals through the City of Philadelphia’s Mural Arts Program: Hanging Garden of I-95, Honey’s Garden, and Bell’s Pond.

Hyder’s fascination with the public sphere has manifested in a multimedia experience titled The Janis Project. Begun in 2015 and still continuing today, Hyder has created over a dozen large-scale, double-faced inflatable sculptures of heads. Hyder states of The Janis Project that each head, “which at once references Moai of Easter Island, Olmec heads and, the ancient Roman god of new endeavors, at the same time has its roots in street art and inflatable toys…Janis carries a message of equality and good will and dares to step out of the normal world of Art museums or Art Galleries to be among us. Made of resilient nylon and paint, Janis has found a place to make us all consider issues with a smile that often divide us.”

Through Oceania Cruise Line’s Artist in Residence program, Janis traveled the entire coast of Europe form Istanbul to St. Petersburg, including the British Isles. The Janis Project continues to travel the world with its growing number of sculptures and will land at the Michener in November of 2018. The Museum will play host to several Janis sculptures as well as a selection of watercolors made during and in response to Hyder’s journey around the world with his sculptures.

The exhibition program in the Bette and Nelson Pfundt Gallery is presented by Vivian Banta and Robert Field.

The installations in the Outdoor Sculpture Gardens are sponsored by Silverman Family Partnerships.

Leslie Pontz: Integration
November 3, 2018 - February 17, 2019
Beans Gallery

Curated by Louise Feder, Guest Curator

Leslie Pontz’s work deals with topics such as community, conflict, and growth by applying the vocabulary of textiles to materials not commonly associated with the medium. Rusted tools find a home with soft woven pieces while metal is crocheted like yarn. These surprising juxtapositions of materials makes categorizing Pontz’s work difficult; it is sculpture, it is fabric, it is installation.

Her work also, in many cases, invites participation from its viewers. Whether following a meditative journey proscribed by Pontz in and around her work, or by literally rearranging portions of her sculptural pieces, viewers are both invited to be shaped by Pontz’s work and shape it themselves. The story of Pontz’s own life, that of her community, and visitors to the Museum will be woven together in the exhibition by participation, conversation, and collaboration.

Artist Statement:
I remember thinking on my first visit to the desert how glorious it was with its grayed colors and hard shapes and soft sand and prickly textures. There were so many contrasts in this quiet world of sand and lizards. Yet from the very first moment that I experienced this environment, it seemed so peaceful, full of shapes and textures that did not seem to go together but definitely wanted to live together. Since that time I have continued to be intrigued with exploring the juxtaposition of contrasting elements that are far more exciting existing together than independently. By combining materials like crocheted metal, silk organza, thread, and rusted industrial elements, I am able to explore this concept of co-existing contrasts that constantly reminds me that life itself presents an array of conflicts that always need balancing.

The rawness of my finished work is an integral part of the artistic statement. It is a statement that stretches the boundaries of “shoulds” and “should nots,” of perfection and imperfection. I find it very invigorating to work without pre-set boundaries and rules, because that gives me an energy that I believe transfers to the “canvas” as I push the materials around until the finished piece emerges. Working with this kind of an open mindset also provides me with a sense of freedom. There is no such thing as a mistake, and that is a wonderful freedom.

Leslie Pontz: Integration is generously supported by The Coby Foundation, Ltd., and Virginia W. Sigety, cabi Fashion Stylist.

30 Years: Art at the Michener, 1988-2018
September 16, 2018 - January 6, 2019
Paton | Smith | Della Penna-Fernberger Galleries

Curated by Louise Feder, Guest Curator

Since its founding in 1988, the Michener Art Museum has expanded its vision, facility, and programs as well as its permanent collection, which now comprises more than 3,500 paintings, sculptures, photographs, and works on paper. To commemorate its 30th anniversary, the Michener is presenting 30 Years: Art at the Michener, 1988-2018, a special exhibition that invites visitors to learn new stories about familiar works of art and discover objects from the Museum’s vault that have never before been on display.

The process of how many works in the Michener’s collection arrived at the Museum through significant gifts and bequests is a particular focus in the exhibition. 30 Years commemorates these legacies, explores the stories behind the art and the collectors, and celebrates the generosity of individuals to transfer private collections into the public trust, ensuring that their art will be experienced and enjoyed for generations to come.

The exhibition also features a selection of works curated by local students enrolled in the Michener’s Student Curator’s class. Local teens excited about art and history worked with Michener curatorial and education staff to create the Michener’s first-ever fully student-curated exhibition, American Visions, as part of the exhibition. They selected works from the Museum’s collection that have not been exhibited in the galleries before, engaged in archival and library research while writing object labels for the artworks, and collaborated with peers and Museum staff on the exhibition design. Don’t miss out on the opportunity to experience the permanent collection through a new lens, and to learn about their interest in how art and culture can shape a meaningful vision for America.

The Michener is proud to serve our community as the steward for this exceptional collection of American Art. We look forward to celebrating the Museum’s history and future with you: our visitors, members, neighbors, and friends.

30 Years: Art at the Michener, 1988-2018 is presented by Worth & Company, Inc.

Generous support is provided by Visit Bucks County, Bob and Joyce Byers, and SEI Private Wealth Management.

Additional support is provided by FREEMAN’S, Barbara Donnelly Bentivoglio and Dr. Lamberto Bentivoglio, and Syd and Sharon Martin.

Impressions on Paper: Henry Snell
Through November 11, 2018
Bette and Nelson Pfundt Gallery

Curated by Louise Feder, Guest Curator

Henry Bayley Snell (1858-1943) was born and raised in Richmond, England but emigrated to the United States at the age of seventeen to study at the Art Students League in New York. Snell was an eminent landscape painter who specialized in marine paintings and was part of the New Hope School of landscape painters, first arriving in Bucks County to visit William L. Lathrop and his family. Snell and his wife permanently settled in New Hope around 1925 with Snell teaching portraiture at the Philadelphia School of Design for Women, often supplementing students’ education by bringing them to the St. Ives artist colony in Cornwall for the summer.

Snell’s drawings and watercolors of his travels to Cornwall and beyond are a special part of the Michener’s collection of impressionist works on paper. As many of these works on paper have never been exhibited at the Museum, Impressions on Paper: Henry Snell offers both a special glimpse at the treasures in the Michener’s vault as well as a scholarly examination of a regional painter capturing impressions abroad.

Presented by Vivian Banta and Robert Field.
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