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4 Barkley L. Hendricks Wins CAA Artist Award for Distinguished Body of Work Barkley L. Hendricks recieving the Distinguished Alumni Award at PAFA’s commencement in 2009. Philadelphia native and PAFA alumnus Barkley L. Hendricks was a co-recipient of the College Art Association’s (CAA) Artist Award for Distinguished Body of Work at the association’s annual conference which took place in Chicago in February. According to the CAA, award winners Hendricks and Emory Douglas have long challenged the art world’s boundaries and received definitions in different but historically important ways. While working on opposite coasts and in different mediums, they transformed how African Americans saw themselves, and how they were seen. Emerging during the mid-1960s at a time of intense social upheaval, the two made work that was confrontational and incendiary, subversive and sly. While Douglas worked outside the confines of the art world as the Black Panther Party’s minister of culture, contributing to the Black Panther newspaper, Hendricks worked inside it without succumbing to the pressures and proscriptions against painting, particularly observational painting, and, to go one step further, portraiture. In May of 2009, Hendricks was presented with PAFA’s annual Distinguished Alumni Award during the Academy’s commencement ceremonies. In October of last year, his painting retrospective Barkley L. Hendricks: Birth of the Cool opened to great critical and audience acclaim. “PAFA is very proud to see one of our most accomplished alumni recognized with this well-deserved achievement award from fellow artists and educators in the College Art Association,” stated PAFA President and CEO David R. Brigham. “Barkley Hendricks has created a powerful body of work and influenced the way that younger artists approach the contemporary human figure.” “To receive this award from the College Art Association is truly an honor,” said Hendricks. “I am surprised and elated.” Hendricks has always loved art, but noticed at an early age the people depicted in the famous paintings in museums didn’t look like him. “I was inspired by the masters and how they painted, but there was an absence of people I could recognize,” he said. “There is logic to an artist’s direction, which is to relate to what they know, and that is what I do.” PAFA Presents 109th Annual Student Exhibition (continued from page 1) accessible prices. The works will be hung salon style in the Fisher Brooks Gallery and Gallery 128 on the first floor of the Hamilton Building and the Walter and Leonore Annenberg; the School of Fine Arts, Gift of the Women’s Board; and Tuttleman Sculpture galleries on the second floor. In addition to its role as an exhibition and sale, the exhibition represents a competition for the coveted Certificate Program’s Cresson, Schiedt, Ware, and Women’s Board Travel Scholarships. A Preview Party hosted by the Women’s Board of the Academy will take place on Thusday, May 13 from 5 to 8:30 p.m. and a free public preview reception of the Annual Student Exhibition will take place Friday, May 14 from 5 - 8 p.m. Photo: Linda Johnson Catching Up with PAFA’s Active Students This winter PAFA students have been busy outside of their studios helping to make a difference in our local community and beyond. Here are just some of the activities they have participated in. MLK Day of Service _ January 18, 2010 Over 50 students helped provide a day of art making and fun for local families living in shelters. Children made dream boxes, mini-books, and toy animals – and from the number of parents who joined in, we learned that you are never too old to enjoy making bead bracelets! The event was a great success, bringing a sense of achievement to those students who volunteered their time, and we look forward to next year! For pictures of this great event go to www.pafa.edu/schoolphotos. Winter Bash _ January 29, 2010 PAFA’s 2nd Annual Winter Bash was as spectacular as 2009! Students packed the dance floor, taking a break only to eat some of the delicious food offered. The student committee outdid themselves with the photo backdrops – one could almost be forgiven for thinking we really did spend the night at the Taj Mahal! Open Studio Night _ February 19, 2010 Our annual Open Studio Night was postponed for a week due to inclement weather but any concerns that people wouldn’t visit on the rescheduled date were quickly laid to rest as 500 guests attended. We had a superb turn out and students had every reason to feel proud of all their hard work. In addition, our first ever student art sale for charity was an amazing success with sales of donated student work fetching over $1000. All proceeds were donated to our Haiti Relief Fund, benefiting The Red Cross and Unicef. Ping-Pong-Athon _ February 19, 2010 On the same night as Open Studio Night, a hardy band of student ping-pong enthusiasts gathered in the 11th Floor student lounge to begin a 13-hour-Ping- Pong marathon. Our intrepid Bursar, Bill Martin, organized and rallied the group – even during a fire alarm! The result was an amazing $4500 raised in sponsorship with the proceeds to go to our Haiti Relief Fund. Haiti Bake Sale _ February 23, 2010 Students, faculty and staff came together to bake and sell brownies, cupcakes, and cookies. All proceeds went to our Haiti Relief Fund and we made over $350. Not bad for a sale where most things cost 50 cents! Book Your Event at PAFA! At PAFA, you can dine and dance with Benjamin West or Betye Saar, Thomas Eakins or Alex Katz, or the entire Peale family in one of Philadelphia’s architectural treasures. Choose between our historic and contemporary galleries for the perfect party site. With full event-planning resources, our experts always create a spectacularly artistic experience! Photo: Hinda Schuman Contact Judi Garst at 215-972-1609 or jgarst@pafa.org www.pafa.org/rentals Photo: Colette Seidel Photo: Colette Seidel
Alumni Spotlight: Orit Hofshi returns to PAFA for Philagrafika 2010 Twenty years after her 1990 graduation from PAFA, Israeli artist Orit Hofshi returned to the Academy to install her work in the Fisher Brooks Gallery as part of Philagrafika 2010: The Graphic Unconscious. Revisiting the Academy and seeing her work on display in the Samuel M.V. Hamilton Building has been an exciting opportunity for Hofshi, who answered the following questions for Preview. Was art something you always wanted to study and pursue? There haven’t been many days I wasn’t doing something creative from kindergarten and on. During my high school years it was already quite clear to me that I would be doing art for the long term in one form or another. How did you come to study at PAFA? My husband, Nittai, and I came to Philadelphia when he enrolled at the MFA program at Temple University. I had just completed my graphic design studies in Israel. One of my professors at the college, Ed Sernoff, a PAFA alumni and a friend of Dan Miller, told me about PAFA and its programs. So after settling down in Philadelphia I began exploring the option of attending the Academy. To make a long story short, I was lucky to be accepted and granted a scholarship, and embarked on a great journey from there after. Can you talk a bit about your experience as a student here? One of the challenging and stimulating aspects of being a student at PAFA, was my being from a different culture. A different language, a different artistic environment, a different “language of art” all added to learning how PAFA operates and works. I found myself observing a lot and eagerly familiarizing myself with the school’s atmosphere, energy, and very diverse student body. I felt that during my studies at PAFA, I maintained my personal identity and much of my background, while learning a great deal and experiencing the PAFA and local environment, all with the absolute support and respect of the faculty and fellow students. How do themes and mediums of your work develop? While drawing had always been the anchor of my art work and primary medium of expression, I feel that when enrolling at PAFA, I was primed for a deeper and more substantial personal introspective journey. In a short while, printing, and woodcuts specifically, became a significant media and mode of expression. Evolution of time, remnants and recorded natural or human footprints have been a focal point of much of my recent work. A significant factor influencing my work is living in a politically charged en- Orit Hofshi (Israeli, born 1959 ), If the Tread is an Echo, 2009, Pencil, markers, and stone stick tusche rubbing on carved wood panels and handmade paper, 136 x 287 x 36 inches. Photo courtesy of the artist vironment like present-day Israel. But the issue is actually broader than that in my mind. The human condition has a constant presence in my work, whether actually depicted in the work and even if not. I constantly look for images of people in daily newspapers as well as images from archives. I am fascinated by expressions and disposition portrayed in images as a source of inspiration. My frequent depiction of isolated figures refers primarily to the notion that people need to face challenges, as well as the consequences of their actions and decisions as individuals. What are your thoughts on returning to your alma mater and participating in Philagrafika? I feel I have an on going relationship with the Academy, and Philagrafika gave me a wonderful opportunity to work with the museum’s contemporary art team and Julien Robson [PAFA’s Curator of Contemporary Art]. As part of the opening events week I had the opportunity to meet with a group of PAFA students, telling them a bit about my experience and work and also looking at some of their work with them. Another highlight of my visit was a gallery talk with Julien, held in the museum next to my work. This was a wonderful experience not only as a venue of an interesting discussion, but was also an opportunity to meet a wide range of people some of whom remembered me from my PAFA days and came to revisit. Renowned Artists Faith Ringgold and Julie Heffernan to Join PAFA Commencement Ceremonies On May 14, the PAFA community will gather for its annual graduation ceremonies, which this year will feature an honorary Doctor of Fine Arts degree presented to Faith Ringgold, and a commencement address given by Julie Heffernan. Faith Ringgold began her artistic career more than 35 years ago as a painter. Today, she is best known for her painted story quilts—art that combines painting, quilted fabric, and storytelling. She has exhibited in major museums in the United States, Europe, South America, Asia, Africa, and the Middle East. Her work is in the permanent collections of many museums including the Studio Museum in Harlem, the Solomon R. Guggenheim Museum, The Metropolitan Museum of Art, The Museum of Modern Art, and PAFA. Her first book, Tar Beach, was a Caldecott Honor Book and winner of the Coretta Scott King Award for Illustration, among numerous other honors. She has written and illustrated 11 children’s books and received more than 75 awards, fellowships, citations, and honors, including the Solomon R. Guggenheim Fellowship for painting, two National Endowment for the Arts awards, and 17 honorary doctorates, one of which is from her alma mater The City College of New York. Ringgold is married to Burdette Ringgold and has two daughters, Michele and Barbara Wallace, and three granddaughters, Faith, Theodora and Martha. She is a professor of art at the University of California in San Diego, California. Julie Heffernan is known for her lush and sensuous, large-scale figurative and still life paintings that combine elements of Italian or Spanish Renaissance painting, 17th-century Dutch genre still-life, and grand manner landscape painting. Her provocative and beautiful work evokes psychological issues surrounding feminism, gender issues, class structure, and motherhood. Her ability to cross-reference centuries and issues, both political and private, in large-scale figurative paintings, makes Heffernan one of the most unique artists working today. Heffernan has been exhibiting widely for the past two decades at The Korean Biennial; Weatherspoon Art Gallery, NC ; Tampa Museum Of Art, FL; Knoxville Museum Of Art, TN; Columbia Museum of Art, SC; Milwaukee Art Museum, WI; The New Museum, NY; The Norton Museum, FL; The American Academy of Arts And Letters, NY; Kohler Arts Center, WI; The Palmer Museum of Art, PA; National Academy of Art, NY; McNay Art Museum, TX; Herter Art Gallery, MA; Mint Museum, NC; Virginia Museum of Fine Art, VA, among numerous others. From the Desk of the Dean: Printmaking and Printmakers By Jeffrey Carr, Senior Vice President of Academic Affairs, Dean of the School of Fine Arts It was impossible to be around PAFA this winter without realizing we were playing host to a vast celebration of printmaking and printmakers. Top of the list is, of course, the printmaking extravaganza of Philagrafika 2010, with its long list of international art stars pushing and pulling the limits of printmaking as a medium and an art form. There was also an exhibition of modern and contemporary prints from the Academy’s own collection, featuring printmaking masterpieces from Motherwell, Warhol, Sue Coe, and many others. Finally, there was an exhibition of outstanding prints from Philadelphia’s own printmaking community who have produced work with Master Printer Cindi Ettinger. The School featured demonstrations, exhibitions, and visiting artists in celebration of printmaking. Philagrafika artist and PAFA alumnus Orit Hofshi was a guest at the printmaking department, doing a day of demonstrations and critiques. The printmaking department participated in the Southern Graphics Council annual convention, hosted this March in Philadelphia by all of the area art schools. Lisa Hamilton, Tony Rosati, Dan Miller and Ron Wyffels gave demonstrations and displayed printmaking techniques to hundreds of visiting printmakers, students, and printmaking professionals from all over the country who were here for the conference. Throughout printmaking’s long and illustrious history, it has often played a secondary role to painting and sculpture. Paintings and sculpture were traditionally for the wealthy aristocracy. Prints, however, were a popular medium, intended for a wider and more democratic audience. Durer made paintings for the wealthy and the privileged, but he made his apocalyptic woodcuts for the masses. Printmaking evolved as a way of making multiple images that were more affordable for ordinary people. But it really came into its own when great modernist masters such as Picasso, Motherwell, and many others raised it to its current status of being an immensely creative and innovative art form of its own. The frenzy of exhibitions, visitors, and demonstrations illustrates PAFA’s commitment to the evolving vitality of contemporary printmaking. Photo: Greenhouse Media 5
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