Gallery Map

On View

Robert Frank and Todd Webb: Across America, 1955 (through July 31, 2024): Level 1, Galleries 102–105

Laying the Foundation: Exploring the Nucleus of the Addison’s Collection (through July 31, 2024): Level 1, Exhibition Hall and Gallery 109

George Tooker: Homecoming (through July 31, 2024): Level 1, Director’s Office (off the rotunda)

A Long Arc: Photography and the American South since 1845 (through July 31, 2024): Level 2, Galleries 201–208

Finding American Form: 20th-Century Selections from the Permanent Collection (through July 31, 2024): Gallery 209

Jennifer Cecere: Abbot & Andover at 50: Then, Now, Next (through 7/31/24; on view on the Addison’s façade)

Models of American Sailing Ships (permanently on view): Lower Level

 

Exhibitions on view

Permanently installed works of art

Paul Manship, Venus Anadyomene, 1927
Paul Manship, Venus Anadyomene, 1927. Marble, 28 5/8 x 22 inches. Gift of anonymous donor, fountain restoration funded by Mary and Keith Kauppila, 1930.291

 

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H. E. Boucher Mfg. Company, Flying Cloud, 1930
H. E. Boucher Mfg. Company, Flying Cloud, 1930. Ship model, 44 x 72 inches. Addison Gallery of American Art, Phillips Academy, Andover, MA, gift of George Jordan, 1931.S7
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John Singer Sargent, Cypress Trees at San Vigilio, 1913
John Singer Sargent, Cypress Trees at San Vigilio, 1913, oil on canvas mounted on Masonite, gift of Cornelius N. Bliss, 1928.52

Laying the Foundation: Exploring the Nucleus of the Addison’s Collection (through 7/31/24; Level 1, Exhibition Hall and Gallery 109) is an exploration of the eclectic mix of works that comprise the Addison’s founding collection, which reflects not just the best of what was available on the market at the time but also the specific tastes and predilections of those who contributed to its creation.

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Robert Frank, Parade — Hoboken, New Jersey, 1955-1956
Robert Frank, Parade — Hoboken, New Jersey, 1955-1956, gelatin silver print, 9 1/16 x 13 11/16 inches, museum purchase, 1989.77.1

Robert Frank and Todd Webb: Across America, 1955 (through 7/31/24; Level 1, Galleries 102–105), organized by the Museum of Fine Art, Houston, presents photographs that Robert Frank and Todd Webb created separately during their 1955 Guggenheim Foundation Fellowships. Though the men had no knowledge of each other at the time, their strikingly similar images revealed popular cultural trends and shared ideologies that challenged the idealistic purity of the “American Roadtrip.”

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George Tooker, Market, 1949
George Tooker, Market, 1949, egg tempera on gesso panel, gift of John P. Axelrod (PA 1964) and partial museum purchase in memory of John O’Reilly and Jim Tellin, 2024.99

George Tooker: Homecoming (through 7/31/24; Level 1, Director’s Office) showcases the newly acquired early masterwork Market along with the distinguished and expansive collection of the artist’s work, gifted by Tooker (Phillips Academy Class of 1938), already in the Addison’s collection.

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Todd Webb, Diner, Ouray, CO, 1955, printed 2023
Todd Webb, Diner, Ouray, CO, 1955, printed 2023, inkjet print, courtesy of Todd Webb Archive. © Todd Webb Archive

Robert Frank and Todd Webb: Across America, 1955 (through 7/31/24; Level 1, Galleries 102–105), organized by the Museum of Fine Art, Houston, presents photographs that Robert Frank and Todd Webb created separately during their 1955 Guggenheim Foundation Fellowships. Though the men had no knowledge of each other at the time, their strikingly similar images revealed popular cultural trends and shared ideologies that challenged the idealistic purity of the “American Roadtrip.”

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Jennifer Cecere, Digital rendering for Women’s Work, 2024
Jennifer Cecere, Women’s Work (digital rendering), 2024, laser cut aluminum

Jennifer Cecere: Abbot & Andover at 50: Then, Now, Next (through 7/31/24; on the façade of the Addison and in Abbot Circle, next to 24 School Street in Andover), has been created in conjunction with the 50th anniversary of Abbot Academy and Phillips Academy becoming a single institution. Jennifer Cecere (Abbot 1969) has created two site-specific installations—an oversized and reflective doily adorning the Addison’s façade, and one of the artist’s signature doily benches in Abbot Circle—that reference and recontextualize the humble lace ornament.

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Gallery Map L2 03.02.24
Sol LeWitt, Wall Drawing #713: On a vaulted ceiling, 20 irregular five-sided figures, January 1993
Sol LeWitt, Wall Drawing #713: On a vaulted ceiling, 20 irregular five-sided figures, January 1993. Color ink wash and India ink. Gift of the artist, 1993.49. Image © 2014 The LeWitt Estate / Artists Rights Society (ARS), NY. Reproduction, including downloading of Sol LeWitt works is prohibited by copyright laws and international conventions without the express written permission of Artists Rights Society (ARS), NY.
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RaMell Ross (American, born 1982), iHome, 2013
RaMell Ross (American, born 1982), iHome, 2013, pigmented inkjet print, High Museum of Art, Atlanta, purchase with funds from the Marilyn and Donald Keough Family Foundation, 2022.159. © RaMell Ross.

A Long Arc: Photography and the American South since 1845 (through 7/31/24; Level 2, Galleries 201–208) The first major survey of Southern photography in 25 years, this exhibition, organized by the High Museum of Art, Atlanta, examines the South’s place in the history of photography and reveals the region’s critical impact on the evolution of the medium.

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James Van Der Zee (American, 1886–1983), Whittier Preparatory School, Phoebus, Va., 1907
James Van Der Zee (American, 1886–1983), Whittier Preparatory School, Phoebus, Va., 1907, printed later, gelatin silver print, High Museum of Art, Atlanta, purchase, 74.143 B. © James Van Der Zee Archive, The Metropolitan Museum of Art

A Long Arc: Photography and the American South since 1845 (through 7/31/24; Level 2, Galleries 201–208) The first major survey of Southern photography in 25 years, this exhibition, organized by the High Museum of Art, Atlanta, examines the South’s place in the history of photography and reveals the region’s critical impact on the evolution of the medium.

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Jacob Lawrence, Kibitzers, 1948
Jacob Lawrence, Kibitzers, 1948, egg tempera on Masonite, 20 x 24 inches, gift from the Childe Hassam Fund of the American Academy of Arts and Letters, 1951.3

Finding American Form: 20th-Century Selections from the Permanent Collection (through 7/31/24; Level 2, Gallery 209) explores the spirit of formal experimentation and range of artistic styles that characterized the 20th century. Artists mined the space between representation and abstraction, whether drawing upon the influence of European modern art, finding inspiration from the stylized sculptures and masks of West Africa, or taking cues from their urban environment and the natural world.

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L. A. Pritchard, Model by L.A. Pritchard after plans by R. C. Anderson, Mayflower, c. 1936
L. A. Pritchard, Model by L.A. Pritchard after plans by R. C. Anderson, Mayflower, c. 1936

The Addison Gallery’s famed model ship collection, permanently installed in the building’s lower level, consisted originally of 24 works commissioned by the museum’s founder, Thomas Cochran, to document four centuries of American history. 

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Addison Artist Council logo

Bartlett H. Hayes Prize Recipients

2023:

Reggie Burrows Hodges

Exhibition | Residency | Publication | Acquisition

2025:

Tommy Kha

Exhibition | Residency | Publication | Acquisition