FA L L 2 0 1 6 T EACHE R E XHIBITION GUID E
Collecting and Documenting
Manzanar: Photographs
by Ansel Adams
September 1 — Winter 2016
Making It Modern: The
Folk Art Collection of
Elie and Viola Nadelman
September 24 —
December 31, 2016
Taking Shape: Sculpture
at the Addison
September 17, 2016 —
March 19, 2017
Eye on the Collection
September 1, 2016 —
March 19, 2017
ABOUT THE EXHIBITION
Ansel Adams, Mrs. Naguchi and Two
Children from Photographs of JapaneseAmerican Relocation Camp in Manzanar,
California, neg 1943, printed 1984, gelatin
silver print mounted to board, 14 x 11 in.,
Addison Gallery of American Art, Phillips
Academy, Andover, MA, purchased as
the gift of Sidney R. Knafel (PA 1948),
2015.10.6
Ansel Adams, Joyce Yuki Nakumura from
Photographs of Japanese-American
Relocation Camp in Manzanar, California,
neg 1943, printed 1984, gelatin silver print
mounted to board, 11 x 14 in., Addison
Gallery of American Art, Phillips Academy,
Andover, MA, purchased as the gift of
Sidney R. Knafel (PA 1948), 2015.10.19
Ansel Adams, Potato Field from
Photographs of Japanese-American
Relocation Camp in Manzanar, California,
neg 1943, printed 1984, gelatin silver print
mounted to board, 11 x 14 in., Addison
Gallery of American Art, Phillips Academy,
Andover, MA, purchased as the gift of
Sidney R. Knafel (PA 1948), 2015.10.38
Ansel Adams, Roy Takeno Outside Free
Press Office from Photographs of JapaneseAmerican Relocation Camp in Manzanar,
California, neg 1943, printed 1984, gelatin
silver print mounted to board, 14 x 11 in.,
Addison Gallery of American Art, Phillips
Academy, Andover, MA, purchased as
the gift of Sidney R. Knafel (PA 1948),
2015.10.32 ​​
Ansel Adams, Mess Line from Photographs
of Japanese-American Relocation Camp in
Manzanar, California, neg 1943, printed
1984, gelatin silver print mounted to board,
11 x 14 in., Addison Gallery of American
Art, Phillips Academy, Andover, MA,
purchased as the gift of Sidney R. Knafel
(PA 1948), 2015.10.20
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F A L L 2 0 1 6 T E A C H E R E X H I B I T I O N G U I D E Collecting and Documenting Addison Gallery of American Art Education Department
Manzanar: Photographs by Ansel Adams
September 1 — Winter 2016
This exhibition debuts a recent acquisition of fifty photographs by Ansel Adams documenting the Manzanar
War Relocation Center in Inyo County, California. In 1943, Adams was invited to create a photographic
record of this government facility, in which hundreds of tarpaper barracks were built to house more than
10,000 people behind barbed wire and gun towers. All residents were of Japanese ancestry, but most
were American citizens forcibly removed from their homes and businesses and relocated to the camp
by presidential order. While this series includes some of Adams’s signature iconic landscapes, it mostly
comprises views of daily life, sports and leisure activities, agricultural scenes, and portraits. Describing
this project, Adams wrote, “The purpose of my work was to show how these people, suffering under a great
injustice, and loss of property, businesses and professions, had overcome the sense of defeat and despair
by building for themselves a vital community in an arid (but magnificent) environment.” An important—and
timely—historical document and work of art, this renowned series touches on a wide range of topics from
documentary photography and the politics of representation to U.S. and world history, race, and identity.
Generous support for this exhibition has been provided by the Mollie Bennett Lupe and Garland M. Lasater Exhibitions Fund.
Curriculum Connections Can Include
• the impact of Pearl Harbor and World War II
• documentary photography and bias
• racism and racial profiling
• cultural and national identity for immigrants or minority groups
Questions for Observation, Reflection, and Discussion
• Why might the story of Manzanar and other Japanese relocation camps be a lesser-known part of
American history? How can we capture and share unjust events that occur today?
• Why might Adams’s depiction of life at Manzanar be surprising to some people? What might be
some criticisms of his photographs from the perspectives of Japanese Americans, the United States
Government, or the general American public at the time or now?
• How do images shape the way history is presented?
Related Events at the Addison
• FREE Educators’ Program and Dinner: “All We Could Carry: A Nisei’s Experience in an American
Concentration Camp during World War Two” (3 PDPs) Thursday, October 20th, 4:00–7:30 pm
Hear a personal account of the Japanese American imprisonment and its civil rights abuses during WWII
by Sam Mihara. Seating will be limited and RSVPs are required (http://bit.ly/rsvpsammihara).
Teacher Resources Additional resources are available upon request.
• Born Free and Equal: The Story of Loyal Japanese Americans text and photographs by Ansel Adams
• Farewell to Manzanar a young adult book by James D. Houston and Jeanne Wakatsuki Houston
• Manzanar’s National Historic Site website (https://www.nps.gov/manz/index.htm) includes educational
material
• Photos: 3 Very Different Views of Japanese Internment (http://bit.ly/manzanarphotographers) a
comparison of Ansel Adams, Dorothea Lange, and Toyo Miyatake’s photographs of Manzanar
• Untold Stories: Manzanar: “Never Again” (http://www.pbs.org/video/1184937107/) a 14 minute film clip
on Manzanar from Ken Burns’s documentary on America’s National Parks
F A L L 2 0 1 6 T E A C H E R E X H I B I T I O N G U I D E Collecting and Documenting Addison Gallery of American Art Education Department
PAGE 3
ABOUT THE EXHIBITION
Unidentified American maker, Quilt:
Seek No Further or Many Mansions
pattern, 1840–60, probably Maryland or
Pennsylvania, cotton, 100 1/4 x 99 x 1/8
in., New-York Historical Society, Purchased
from Elie Nadelman, 1939.4​
Unidentified American artist, Lady Libery
and Washington window shade, 1800-10,
oil on canvas, 73 x 43 7/8in., Fenimore Art
Museum, Cooperstown, NY, N0535.1948,
Photography, Richard Walker
Unidentified makers, Milliner’s heads,
mid-19th century. Red pine, papier-mâché,
paint, gesso, wood. New-York Historical
Society, Purchased from Elie Nadelman,
INV.8707, INV.8708, INV.8709
Elie Nadelman, Seated Woman (Femme
Assise), 1920 (plaster, ca. 1917), cherry
wood and iron, 31 3/4 x 12 3/4 in., Addison
Gallery of American Art, Phillips Academy,
Andover, MA, 1955.8, © Estate of Elie
Nadelman​
George W. Brown & Co., Forestville or
Cromwell, CT, Riverboat Excelsior pull toy,
ca. 1870, tinned sheet iron, iron, paint,
paper, 14 x 21 x 7 in., New-York Historical
Society, Purchased from Elie Nadelman,
1937.478 ​
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F A L L 2 0 1 6 T E A C H E R E X H I B I T I O N G U I D E Collecting and Documenting Addison Gallery of American Art Education Department
Making It Modern:
The Folk Art Collection of Elie and Viola Nadelman
September 24 — December 31, 2016
Making It Modern is the first major examination of sculptor Elie Nadelman’s seminal role in folk art
collecting. Originally displayed in the Museum of Folk and Peasant Arts on the estate owned by Elie and
Viola Nadelman, the collection was later acquired by the New-York Historical Society. This exhibition
will present approximately 100 objects displayed in groupings akin to those in the Nadelmans’ museum.
Several examples of the artist’s own sculpture will help to explore the influence of folk art on his oeuvre.
This exhibition has been organized by the New-York Historical Society. Leadership support for this exhibition has been provided
by the Henry Luce Foundation. Generous support has also been provided by the National Endowment for the Arts, Greater Hudson
Heritage Network, the American Folk Art Society, and Furthermore: a program of the J. M. Kaplan Fund. The Addison’s presentation
of Making It Modern is generously supported by the Sidney R. Knafel Fund and the Bernard and Louise Palitz Exhibitions Fund.
Curriculum Connections Can Include
• collecting, classifying, and curating
• historical objects as primary sources
• patriotic art and symbols
• American Colonialism
Questions for Observation, Reflection, and Discussion
• What is the value in having objects that are both functional and decorative? How does this compare to
the things that we purchase for our homes today?
• Based on your observations, what conclusions can you draw about the original uses of these objects?
How might these relate to daily life, gender roles, or the culture of the particular time periods?
• How do you think Elie Nadelman’s personal collection might have influenced his own artistic practice?
Related Events at the Addison
All programs are free and open to the public, unless noted. For a complete list of Public Programs, please visit addisongallery.org.
• Friends of the Addison Event: Tour of Making It Modern: The Folk Art Collection of Elie and Viola
Nadelman Thursday, October 13, 6:00 pm (by reservation only for Friends of the Addison)
• Lecture: Self-Taught Artists in the Twentieth Century: Martin Ramirez and His Peers in the Art World
Sunday, October 30, 2:00 pm
Teacher Resources
Additional resources are available upon request.
• American Folk Art for Kids by Richard Panchyk
• Collections + Museums: Communicating Cultural Value (http://bit.ly/collectionsteacherguide)
a Teacher, Students, and Family Guide by the Addison Gallery
• Elie Nadelman: Sculptor of Modern Life (http://bit.ly/nadelmanteacherguide) Teacher Guide from the
Whitney’s 2003 exhibition Elie Nadelman: Sculptor of Modern Life
F A L L 2 0 1 6 T E A C H E R E X H I B I T I O N G U I D E Collecting and Documenting Addison Gallery of American Art Education Department
PAGE 5
ABOUT THE EXHIBITION
Betty Parsons, Untitled, 1968, acrylic
on weathered wood, 20 1/2 x 10 1/2 x 2
1/2 in., Addison Gallery of American Art,
Phillips Academy, Andover, MA, gift of Mark
Rudkin (PA 1947), 2012.50
anonymous, Cherub, n.d., gilded wood,
26 1/2 x 40 in., gift of Winslow and Anna
Ames, Addison Gallery of American Art,
Phillips Academy, Andover, MA, in memory
of Edward Winslow Ames (PA 1892) and
of Arthur Howell Gerhard, N.D. (PA 1894),
1957.4
Siah Armajani, Elements #15, 1987–1988,
diamond-plated aluminum, painted steel,
bricks, and rope, 64 x 142 in., Addison
Gallery of American Art, Phillips Academy,
Andover, MA, gift of the artist in honor of
Penny and Mike Winton (PA 1946), 2001.4​
Michael de Lisio, T. S. Eliot, 1971,
terracotta, 13 3/4 x 5 5/8 x 8 1/2 in.,
Addison Gallery of American Art, Phillips
Academy, Andover, MA, gift of Sanford
Schwartz, 2008.72
anonymous, Dower Chest, 1793, wood with
polychrome decoration, 26 1/2 x 50 1/2 in.,
Addison Gallery of American Art, Phillips
Academy, Andover, MA, bequest of Dr. Fred
T. Murphy (PA 1893), 1958.49
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F A L L 2 0 1 6 T E A C H E R E X H I B I T I O N G U I D E Collecting and Documenting Addison Gallery of American Art Education Department
Taking Shape: Sculpture at the Addison
September 17, 2016 — March 19, 2017
Taking Shape is designed both to celebrate a selection of the museum’s significant sculpture collection
and to serve as a complement to the traveling exhibition Making it Modern: The Folk Art Collection of
Elie and Viola Nadelman. While small in number, the collection includes important works in a variety of
materials—wood, bronze, ceramic, marble, stone, and mixed media. Objects in this presentation range
from large weathervanes and carved signs by unidentified artists to small figures by recognized artists
such as Malvina Hoffman, Alexander Calder, and Chaim Gross; from ambitious figurative sculpture by
well-known sculptors such as Augustus Saint-Gaudens, Paul Manship, Herbert Haseltine, and Robert
Laurent to important contemporary works by Siah Armajani, Theodore Roszak, Louise Nevelson, Martin
Puryear, Carroll Dunham, Mel Kendrick, and Kendra Ferguson. From functional to decorative, roughhewn
to painstakingly polished, representational to abstract, this group of artworks is testament to the
limitless possibilities born out of artistic explorations in three dimensions.
Generous support for this exhibition was provided by the Winton Family Exhibition Fund.
Curriculum Connections Can Include
• scale, measurement, and geometry
• storytelling
• character development
• perspectives and points of view
Questions for Observation, Reflection, and Discussion
• How do artists express ideas through color, line, materials, textures, shape, and size?
• How could you reimagine a three dimentional work of art through drawing, collage, or movement?
Teacher Resources
Additional resources are available upon request.
• deCordova Sculpture Park and Museum (decordova.org) website includes educator resources for
engaging with sculpture
also on view: Eye on the Collection
September 1, 2016 — March 19, 2017
Always present but ever-changing, the Addison’s permanent collection is reinstalled several times a year
as a way for our varied audiences to experience anew the wealth of our holdings of American art. With the
collection now numbering more than 17,000 objects and continuing to grow, the museum is committed to
presenting a wide range of works, both those well-known and those lesser-known, for the discovery and
appreciation by all our visitors—students, faculty, community, and public alike.
Generous support for this exhibition was provided by the Bernard and Louise Palitz Exhibitions Fund.
F A L L 2 0 1 6 T E A C H E R E X H I B I T I O N G U I D E Collecting and Documenting Addison Gallery of American Art Education Department
PAGE 7
Class Visits to the Addison
Admission is always free. Two classes (or up to 50 students) at a time can be scheduled between Tuesday
- Friday, 9:00 am - 5:00 pm. Guided visits generally run between 1 - 1.5 hours depending on student age
and class size and can also include time for student writing or sketching in the galleries.
• The Addison supports a co-teaching philosophy where our education staff’s knowledge of the artworks
combine with the teacher’s objectives and expectations for the visit, as well as incorporating students’
knowledge and experiences.
• We will work with you to plan and co-facilitate a visit that will be inquiry-based and engages students
in close looking and discussion. Teachers are welcome to stop by our office, call, or email to learn more
about our exhibitions and artworks and the ways in which they connect to your course topics
• The Addison education staff collaborates with educators to create and support long-term projects
inspired by exhibitions, collection themes, museum practice, or particular artists. Addison staff works
with teachers to develop creative, cross-disciplinary projects that meet multiple social and academic
objectives.
Connections to Curriculum Standards
Addison Gallery of American Art
Phillips Academy, Andover, MA
Education Department
Rebecca Hayes
Curator of Education
Christine Jee
Education Associate for School
& Community Collaborations
[email protected]
978-749-4198
Jamie Kaplowitz
Manager of Curriculum
Initiatives
Due to the customized nature of each group visit and the activities surrounding each class, the standards
addressed will vary. Class visits to the museum will always include actively viewing and discussing
art and can also focus on reinforcing skills from subject areas such as reading, science, writing, social
studies, or math. For more standards corresponding to specific projects, lessons, artworks, or exhibitions
across disciplines, please contact Christine Jee for more details.
Free Public Museum Hours
Tuesday - Saturday: 10:00 am - 5:00 pm
* * New extended hours on Wednesday 10:00 am to 9:00 pm, ongoing through May 31, 2017 * *
Sunday: 1:00 pm - 5:00 pm
Free Group Visit Hours by Appointment
between Tuesday - Friday: 9:00 am - 5:00 pm
Teacher Resources, Workshops, & Exhibition Information
www.addisongallery.org
Instagram
@addisongalleryofamericanart
Don’t forget: The Addison Gallery’s Online Database accessaddison.andover.edu features
nearly all of the 17,000 works in the Addison collection and offers downloadable JPEGs for
class presentations and projects.
PAGE 8
details from front cover:
Ansel Adams, Manzanar from Guard Tower
from Photographs of Japanese-American
Relocation Camp in Manzanar, California,
neg 1943, printed 1984, gelatin silver print
mounted to board, 14 x 11 in., Addison
Gallery of American Art, Phillips Academy,
Andover, MA, purchased as the gift of
Sidney R. Knafel (PA 1948), 2015.10.3
Unidentified makers, Milliner’s heads,
mid-19th century. Red pine, papier-mâché,
paint, gesso, wood. New-York Historical
Society, Purchased from Elie Nadelman,
INV.8707, INV.8708, INV.8709
Siah Armajani, Elements #15, 1987–1988,
diamond-plated aluminum, painted steel,
bricks, and rope, 64 x 142 in., Addison
Gallery of American Art, Phillips Academy,
Andover, MA, gift of the artist in honor of
Penny and Mike Winton (PA 1946), 2001.4
Raymond Jennings Saunders, White Flower,
Black Flower, 1986, mixed media on canvas
and door, 79 x 99 7/8 in., Addison Gallery
of American Art, Phillips Academy, Andover,
MA, museum purchase, 1987.38
F A L L 2 0 1 6 T E A C H E R E X H I B I T I O N G U I D E Collecting and Documenting Addison Gallery of American Art Education Department