Gallery Map

On View

June Leaf: Shooting from the Heart (3/15/25–7/31/25)

Playing to Our Strengths: Highlights from the Permanent Collection (1/29/25–7/31/25)

Dynamic Duos (2/5/25–7/31/25)

On and Off Stage: Performance and Persona (2/22/25–7/31/25)

The Art of Opposition (3/4/25–7/31/25)

Models of American Sailing Ships (permanently on view)

 

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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Wayne F. Miller, Father and son at Lake Michigan, 1947
Wayne F. Miller, Father and Son at Lake Michigan, May 23, 1947. Gelatin silver print, 10 x 8 inches. Gift of the Wayne F. Miller Family, 2023.33

Dynamic Duos (2/5/25–7/31/25; Level 1, Gallery 109 and Exhibition Hall) features works from the museum’s photography collection and considers the dynamics of two beings sharing space, whether they be romantic partners, family members, close friends, strangers, or interspecies companions. Each image invites viewers to delve into the stories behind the expressions, prompting questions about the context of the encounter, and the emotions at play.

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George Bellows, The Circus, 1912
George Bellows, The Circus, 1912. Oil on canvas, 33 7/8 x 44 inches. Addison Gallery of American Art, Phillips Academy, Andover, MA, gift of Elizabeth Paine Metcalf, 1947.8

Featuring works from the Addison’s collection, On and Off Stage: Performance and Persona (2/22/25–7/31/25; Level 1, Galleries 101–105) explores the intersection of the performing and visual arts. It reveals artists’ fascination with dance, theater, and circus spectacle, while also considering how artists have used performance and roleplay as tools for exploring identity.

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Sally Mann, New Mothers, 1989
Sally Mann, New Mothers, 1989. Gelatin silver print, 8 x 10 inches. Addison Gallery of American Art, Phillips Academy, Andover, MA, museum purchase, 1990.58.

Featuring works from the Addison’s collection, On and Off Stage: Performance and Persona (2/22/25–7/31/25; Level 1, Galleries 101–105) explores the intersection of the performing and visual arts. It reveals artists’ fascination with dance, theater, and circus spectacle, while also considering how artists have used performance and roleplay as tools for exploring identity.

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Stephen Shames, Bobby Seale at Free Huey Rally in DeFremery Park in Oakland, 1968
Stephen Shames, Bobby Seale at Free Huey Rally in DeFremery Park in Oakland, 1968. Vintage gelatin silver print, 6 x 8 1/2 inches. Purchased as the gift of Katherine D. and Stephen C. Sherrill (PA 1971, and P 2005, 2007, 2010), 2007.95

The Art of Opposition (3/4/25–7/31/25; Level 1, Museum Learning Center) has been curated by Phillips Academy students enrolled in Art 400 Visual Culture: Curating the Addison Collection. Working as a team, they identified works that embodied themes of rebellion and resistance from across the Addison’s permanent collection. The exhibition is on view in the gallery’s Museum Learning Center; as an active teaching space, it may sometimes be occupied by a class.

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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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Ellsworth Kelly, Green Red-Orange, 1974
Ellsworth Kelly, Green Red-Orange, 1974. Oil on canvas (two joined panels), 42 x 154 inches. Gift of Frank Stella (PA 1954), Addison Art Drive, 1991.39

Playing to Our Strengths: Highlights from the Permanent Collection (1/29/25–7/31/25; Level 2, Galleries 207–209) presents exceptional works from the collection in three sections: late-19th-century masterworks by Thomas Eakins and Winslow Homer; modernist paintings that convey the ingenuity of artists working amidst the tumult of the interwar years; and large-format postwar abstract paintings that distill the vocabulary of painting to its very essence.

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Winslow Homer, Eight Bells, 1886
Winslow Homer, Eight Bells, 1886. Oil on canvas, 25 3/16 x 30 3/16 inches. Gift of anonymous donor, 1930.379

Playing to Our Strengths: Highlights from the Permanent Collection (1/29/25–7/31/25; Level 2, Galleries 207–209) presents exceptional works from the collection in three sections: late-19th-century masterworks by Thomas Eakins and Winslow Homer; modernist paintings that convey the ingenuity of artists working amidst the tumult of the interwar years; and large-format postwar abstract paintings that distill the vocabulary of painting to its very essence.

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June Leaf, Ascension of Pig Lady, 1968
June Leaf, Ascension of Pig Lady, 1968. Acrylic on canvas with hand-sewn and stuffed figures, wood, and tin, 123 3/8 x 174 3/4 x 8 3/16 inches. Collection Museum of Contemporary Art Chicago, Gift of Herbert and Virginia Lust, 1983.12. © The Estate of June Leaf. Photo: Museum of Contemporary Art Chicago / Art Resource, NY

Four years in the making, June Leaf: Shooting from the Heart (3/15/25–7/31/25; Level 2, Galleries 201–206) is the most comprehensive survey of Leaf’s art in more than three decades. With more than 150 works placed in dynamic conversations across media and time, this exhibition reveals the artist’s sustained engagement with such motifs and themes as movement, theater, gender, and the human condition.

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June Leaf, Two Women on a Jack (detail), 2001
June Leaf, Two Women on a Jack (detail), 2001. Metal, tin, wire, wood, ratcheting jack components, and crowbar, 94 1/2 x 34 1/2 x 13 1/2 inches. Elyse and Lawrence Benenson Collection. Courtesy of the Estate of June Leaf and Ortuzar, New York. © The Estate of June Leaf. Photo: Dario Lasagni

Four years in the making, June Leaf: Shooting from the Heart (3/15/25–7/31/25; Level 2, Galleries 201–206) is the most comprehensive survey of Leaf’s art in more than three decades. With more than 150 works placed in dynamic conversations across media and time, this exhibition reveals the artist’s sustained engagement with such motifs and themes as movement, theater, gender, and the human condition.

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June Leaf, Sleeping Man, 2020
June Leaf, Sleeping Man, 2020. Metal, wire, acrylic on fabric, and wood, 17 1/2 x 19 1/8 x 11 3/8 inches. Collection Estate of June Leaf. Courtesy Hyphen, New York. © The Estate of June Leaf. Photo: Alan Wiener

Four years in the making, June Leaf: Shooting from the Heart (3/15/25–7/31/25; Level 2, Galleries 201–206) is the most comprehensive survey of Leaf’s art in more than three decades. With more than 150 works placed in dynamic conversations across media and time, this exhibition reveals the artist’s sustained engagement with such motifs and themes as movement, theater, gender, and the human condition.

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Robert Frank, June's Hand and Sculpture, Mabou, 1980?
Robert Frank, June’s Hand and Sculpture, Mabou, c. 1980. Gelatin silver print, 12 1/2 x 8 5/8 inches. Addison Gallery of American Art, Phillips Academy, Andover, MA. Gift of the artist, 1995.50. © June Leaf and Robert Frank Foundation

Four years in the making, June Leaf: Shooting from the Heart (3/15/25–7/31/25; Level 2, Galleries 201–206) is the most comprehensive survey of Leaf’s art in more than three decades. With more than 150 works placed in dynamic conversations across media and time, this exhibition reveals the artist’s sustained engagement with such motifs and themes as movement, theater, gender, and the human condition.

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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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The Addison Gallery will close at 3:00 pm today
Tuesday, February 6

due to weather conditions. Stay safe everyone!

Gene Pyle, Untitled (Snow Scene with Tricycle), 1968, gelatin silver print,
museum purchase, 1968.53
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Bartlett H. Hayes Prize Recipients

2023:

Reggie Burrows Hodges

Exhibition | Residency | Publication | Acquisition

2025:

Tommy Kha

Exhibition | Residency | Publication | Acquisition