The Addison Gallery, located on the campus of Phillips Academy in Andover, MA, is free and open to the public. Plan your visit >
Our Mission
Home to a world-class collection of American art, the Addison Gallery, located on the campus of Phillips Academy in Andover, MA, presents an adventurous exhibition program, hosts a vital artist-in-residence program, and works collaboratively with students and faculty at the Academy and in neighboring communities. Through our ongoing query What is America?, the Addison seeks to engage with the history of American art and American experience—past, present, and future.
About Our Collection
Comprised of more than 29,000 works in all media—painting, sculpture, photography, drawings, prints, and decorative arts—from the 18th century to the present, the Addison Gallery’s collection of American art is one of the most important in the world.
The museum’s founding collection included major works by such prominent American artists as John Singleton Copley, Thomas Eakins, Winslow Homer, Maurice Prendergast, John Singer Sargent, John Twachtman, and James McNeill Whistler.
In the nine decades since, aggressive purchasing and generous gifts have added works by such artists as Mark Bradford, Alexander Calder, Stuart Davis, Arthur Dove, Walker Evans, Robert Frank, Marsden Hartley, Hans Hofmann, Edward Hopper, Kerry James Marshall, Eadweard Muybridge, Georgia O’Keeffe, Jackson Pollock, Charles Sheeler, Lorna Simpson, John Sloan, Jaune Quick-to-See Smith, Frank Stella, Kara Walker, and Stanley Whitney.
The Addison Gallery of American Art is delighted to announce that Cynthia Talmadge will be the third recipient of the biannual Bartlett H. Hayes Jr. Prize, awarded by the Addison Artist Council (AAC)!
The AAC builds on the Addison’s nearly century-long commitment to championing living artists by providing important institutional support to emerging and underrecognized American artists. Through the initiative, the Addison will organize the first solo museum exhibition of Talmadge’s work, opening in fall 2027, with an accompanying publication, an artist’s residency, and an acquisition of the artist’s work for the museum’s permanent collection.
Working in painting, photography, and installation, Talmadge (b. 1989, New York, NY) draws on tabloid culture and the darker undercurrents of contemporary Americana. Tinged with fantasy and desolation and born out of deep historical research, her work betrays a fascination with heightened emotional states, mediated portrayals of those states, and, particularly, the places where both converge.
Talmadge holds a BFA from the Rhode Island School of Design and currently lives and works in New York City. While primarily a painter, she works across several mediums, using a variety of techniques to bring to life a body of work that is simultaneously fact and fiction, dramatic and melodramatic, cerebral and kitschy. Whether depicting the interiors of famous psychiatric hospitals and celebrity rehab centers, high society funeral parlors, deserted liberal arts college campuses, or even Marilyn Monroe’s imagined storage unit, Talmadge’s shimmering pointillist paintings composed of sand or oil paint, as well as her room-sized installations, possess a visual and psychic tension and wit that keeps meaning evasive and viewers captivated. Transforming physical spaces into psychological ones and vice versa, Talmadge spins narratives that offer insight into the psychology of society at large and our current cultural moment.
Please join us in congratulating @cynthia_talmadge!
Photo by Charlie Rubin (@charlierubin).
Today marks what would have been the 90th birthday of Frank Stella (1936-2024). Frank was not only one of the most important artists of the postwar period, he was also a beloved and devoted member of the @PhillipsAcademy Class of 1954! The Addison is very pleased to take this occasion to announce it will lend nearly 70 works to a major European exhibition of Stella’s work this summer—Frank Stella: Minimal/Maximal at the Musée d’art moderne et contemporain (MAMC+) in Saint-Étienne, France.
The exhibition, the first major showing of work by Stella in France since the 1980s, will “reveal to French audiences the scope and evolution of his work,” bringing together “painting, drawing, printmaking, sculpture, and architecture.” The first section of the show will shed new light on Stella’s formative years—with a particular focus on his transformative time at Phillips Academy. We’re lending not only major mature works by Frank Stella but also examples of his student work, work by his Phillips Academy mentors Maud and Patrick Morgan and his classmates Carl Andre (PA 1953) and Hollis Frampton (PA 1954), along with works that served as early sources of inspiration (notably Hans Hofmann’s Exaltment, which was formerly owned by Maud Morgan), and works once personally owned by Stella (Larry Bell, Mark Rothko, Agnes Martin).
The show, which will be on view from June 27, 2026 through January 3, 2027, was curated by Alexandre Quoi of MAMC+ and Rachel Stella, the artist’s daughter and a member of the PA Class of 1980! Seems like a great excuse to spend a big blue summer in France!
Frank Stella (1936-2024). East Broadway, 1958. Oil on canvas. Gift of the artist (PA 1954), 1980.14
Maud Morgan (1903-1999). Gyre III, 1947. Oil on canvas. Gift or Mr. and Mrs. Caleb D. Elliot, Jr., 1991.85
Agnes Martin (1912-2004). Untitled, 1960. Ink, watercolor, and graphite on paper. Gift of Frank Stella (PA 1954), Addison Art Drive, 1991.46
Hans Hofmann (1880-1966). Exaltment, 1947. Oil on canvas. Museum purchase, 1960.6
Hollis Frampton (1936-1984). #5 from The Secret World of Frank Stella, 1958-62. Gelatin silver print. Gift of Marion Faller, 1990.34.5
No museum in the ENTIRE world has EVER posted a Mary Cassatt painting or print on Mother’s Day. We are TRAILBLAZERS and RISK-TAKERS here at the Addison Gallery and we are NOT AFRAID to push the envelope and DISRUPT the MUSEUM SPACE! Please tell any other museum that posts a Cassatt today that they are just copying us—tell them to just cut it out!
Mary Cassatt (1844-1926). Mother and Child in Boat, 1908. Oil in canvas. 45 3/4 x 32 inches. Gift of anonymous donor, 1930.378
Free panel discussion TOMORROW (Saturday, May 2nd)!
What is the role of a print publisher?
Join Lucy Rosenburgh, founder of Cambridge-based print publisher Caira Art Editions (@caira.art.editions); master printer Bryan Smith of Stone Hill Press; and artists Alison Croney Moses (@alisoncroneymoses) and Daniela Rivera (@driveraclerfeuille) as they examine the ways in which the collaborative relationships between artist, printer, and publisher shape the production of contemporary prints. This panel discussion will unpack the process of developing an edition—from initial concept to technical realization—and consider how publishers support experimentation and help bring ambitious print projects to life.
The program accompanies the exhibition Parasol Press: Breaking New Ground, which surveys the innovative editions produced by the pioneering publisher Parasol Press, and will be moderated by the exhibition’s curator, Rachel Vogel.
Please note this event takes place at the Addison Gallery of American Art. Space is limited, please register for this event.
Image: Alison Croney Moses (left) and Lucy Rosenburgh (right) editioning Croney Moses’s first print at Stone Hill Press. Image courtesy of Caira Art Editions.
Click the link in our bio to register!
Adrian Venzon and Christine Jee just came back from presenting at the Asian Educators Alliance (AsEA) conference hwschool. Their workshop, “Where are you really from?: Unpacking the Complexities of Home through Creative Expression”, introduced @tommykha and his exploration of themes of identity, belonging, and place and whose exhibition Hayes Prize 2025: Tommy Kha, Other Things Uttered was on view @addisongalleryofamericanart @phillipsacademy this past fall.
Participants engaged in the practice of close-looking, critically engaging with Kha’s Flatlands installation, and responding through “Where I’m From” poems and interactive activities. Their session culminated with the creation of a collaborative work of art, telling a collective story about Asian and Asian American spaces and communities through reclaiming narratives about where they’re from. People shared that they left the workshop with new ideas for their classrooms and for building community, a deeper appreciation for the power of the arts and writing, reflections on their personal and cultural identities, and intergenerational connections.
Join curator Rachel Vogel today at 3:00 Eastern for a FREE virtual tour of Parasol Press: Breaking New Ground! Click on the link in our bio to register! See you on Zoom! Thank you to our partners at @memorialhalllibrary!
The first exhibition to survey Parasol Press’s remarkable publications from 1970–2014, this exhibition showcases radical innovations that pushed the boundaries of printmaking and secured Parasol’s place as one of the most important print publishers of the twentieth century. Parasol’s published editions were among the decade’s most ambitious prints, demonstrating the complex and varied ways artists explored the materiality of printed surfaces while challenging the medium’s limits.
This program will be recorded. A link to the recording will be shared with everyone who registers.
Chuck Close (1940 –2021). Keith, 1972. Mezzotint (photoetched ground) on Rives BFK. Printed by Kathan Brown, Crown Point Press, Oakland, CA. Private collection, Portland, Oregon. © Chuck Close, courtesy Pace Gallery; Photo: National Gallery of Art, Washington
Many thanks to the 300+ people who joined us at our opening celebration for our current slate of exhibitions earlier this month! All of our current shows—including Parasol Press: Breaking New Ground and Both Sides of the Line: Carmen Herrera & Leon Polk Smith will be on view here at the Addison through July 31st!
Photographs by Susan Golden/Eventide Photography.
Support what you love—and we know you love the Addison—this PA Giving Day! We rely on your support to make everything that we do here—from mounting groundbreaking, critically-acclaimed exhibitions to directly engaging every year with thousands of students in our galleries—possible. Please consider supporting the Addison today! Click the link in our bio!
Every donation counts towards a very exciting match opportunity just for the Addison—Steve Burbank ’64, William Winkenwerder ’10, and Stefanie Scheer Young and Andrew Young ’81 are matching $352 per donor up to $44,000 for gifts designated to the Addison!
THANK YOU!
BIG BLUEberry muffins and a “finis origine pendet” mug to celebrate @phillipsacademy’s 249th admitted class! See you at the Addison!
Speaking of the Addison, you can buy your own beautiful @kulakceramic mug right here in our gift shop.
We love ballet and opera here at the Addison. We also loved Michael B. Jordan’s performance in Sinners and cannot wait to see him take home the Oscar for best actor live on Sunday, March 15th on ABC.
Barbara Morgan (1900-1992). Doris Humphrey, Shakers, 1938, printed later. Gelatin silver print. Gift of Fred Nazem, 1984.29
George Tooker (1920-2011). Study for Un Ballo in Maschero, 1983. Graphite on paper. Gift of the artist (PA 1938) in memory of his parents, George Clair and Angela Montejo Roura Tooker, 1996.80.152
We continue our weeklong series highlighting just a few of the many works by women and nonbinary artists that can currently be found on view at the Addison with this incredible print from Dorothea Rockburne’s iconic Locus series.
This work can be found on view in Parasol Press: Breaking New Ground. Come celebrate this remarkable exhibition and our full slate of spring exhibitions at our public opening reception this Saturday from 4-6!
In the printmaking workshop, Dorothea Rockburne was struck by the physical power of the press. “I was involved in an interaction between the paper, the ink, the plate, the bed and the roller,” she described, “and how the weight of the bed and the weight of the roller caused the ink and the paper to interact with each other against the plate.” To draw attention to the print as a physical, three-dimensional object, she wanted to make use of both sides of the sheet. For each print in Locus, she carefully folded a sheet of paper in a precise geometric pattern. The folded sheet was then run through the press with an aquatint plate to imprint a velvety layer of
white ink on the exposed parts of the paper, resulting in subtly textured passages of ink on both sides. The press simultaneously deepened the existing folds into angular planes, turning each print into a sculptural low relief.
Dorothea Rockburne, Plate 1 from Locus, 1972, published 1975. Portfolio of 6 intaglio prints, each relief etching and aquatint. Printed by Jeryl Parker at Crown Point Press. Addison Gallery of American Art, Gift of Henry R. Silverman, by exchange, 1983.46.1–6
#ArtEquity #NMWAnow
@womeninthearts
Let’s continue our weeklong series highlighting just a few of the many works by women and nonbinary artists that can currently be found on view at the Addison with Mickalene Thomas’s Portrait of Lyfe!
This work can be found in our Museum Learning Center in Welcome Home, an exhibition of works from the Addison’s permanent collection curated by @phillipsacademy students enrolled in Art 400!
Students wrote the following label to accompany this work: Drawing from 1970s-inspired interiors reminiscent of her childhood, in this work Mickalene Thomas constructs a richly patterned 70s domestic space featuring mustard wallpaper and deep red accents. Thomas is widely associated with Black figuration, centering Black women in response to their historical underrepresentation in art and media. As she explains, “By selecting women of color, I am quite literally raising their visibility and inserting their presence into the conversation.” The model here, her friend Lyfe, reflects Thomas’s practice of photographing people from her personal life. By staging a version of home that is both constructed and intimate, Thomas presents domestic space as a site of presence, authorship, and cultural affirmation.
On view through July 31 in Welcome Home.
Mickalene Thomas, Portrait of Lyfe, 2020. Archival pigment print, 60 x 48 inches. Purchased as the gift of Katherine D. and Stephen C. Sherrill (PA 1971, and P 2005, 2007, 2010), 2021.137
#ArtEquity #NMWAnow
@womeninthearts
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