‘The Crafted World of Wharton Esherick’ exhibition to be presented by the Brandywine Museum of Art, October 13, 2024 – January 19, 2025
By Steven Brodsky
Wharton Esherick, Flat Top Desk, 1929 and 1962. Walnut and padouk, 28 x 82 x 36 in. Desk Chair, 1929. Walnut, padouk, laced leather seat, 28 x 18 x 18 in. Desk Figure, Bronze casting of 1929 Cocobolo original, 10 x 5 x 4 in. Wharton Esherick Museum Collection. Photo by Eoin O’Neill, courtesy of the Wharton Esherick Museum.
From a Brandywine Museum of Art press release:
Chadds Ford, PA, September 12, 2024 — Opening at the Brandywine Museum of Art this fall, The Crafted World of Wharton Esherick will explore the artistic legacy of Wharton Esherick (1887-1970), one of the most creative and interdisciplinary figures of twentieth-century American art, craft and design. Co-organized by the Brandywine and the Wharton Esherick Museum (WEM), this major exhibition will detail the artist’s career from his early woodcut illustrations for books by the avant-garde literati to his revolutionary reimagining of furniture forms as organic sculpture. The Crafted World features more than 70 works by the artist and will be the first exhibition to draw exclusively from WEM’s collection of over 3,000 objects. The exhibition will bring together works from across different media mastered by the artist—from painting, sculpture and printmaking to woodworking, furniture making and illustration—including many objects never before seen outside of Esherick’s home and studio. The Crafted World will debut at the Brandywine and will be on view from October 13, 2024 through January 19, 2025. The Museum has also organized a two-venue travel tour for the exhibition that will raise the profile of this remarkable artist.
Esherick is best known as the father of the Studio Furniture Movement, which saw artists bringing their unique voices to handmade, functional objects and craft traditions, often reinventing them with bold, experimental techniques and forms. He grew up in West Philadelphia and later moved to Malvern, PA, where he built his own home and studio on the slope of Valley Forge Mountain. Now operated as WEM, this National Historic Landmark for Architecture houses the world’s largest collection of Esherick’s artworks, spanning seven decades of artistic practice. “Esherick’s creative work was inseparable from his personal identity,” said Emily Zilber, WEM’s Director of Curatorial Affairs & Strategic Partnerships, and curator of the exhibition. “He considered his hand-crafted hillside home and studio, which he designed and built between 1926 and 1966, the best representation of his iconoclastic vision, calling it ‘an autobiography in three dimensions.’ It is significant, then, that The Crafted World is the largest exhibition ever organized from the remarkable collection housed in the artist’s home and studio.”
The Crafted World will be presented in thematic vignettes that focus attention on recurring design explorations across Esherick’s body of creative work. Through a variety of forms, formats and media, these vignettes will invite visitors to examine the artist’s unconventional way of life and some of his key artistic interests—urban versus rural life, the movement of the body in space, the power of patterns, and the organic growth of the natural world. Organized thematically, rather than by chronology or media, the exhibition will allow visitors to witness the evolution of Esherick’s thinking around these primary design concepts.
“This exhibition was originally conceived years ago as a small display of Esherick’s woodblock prints from WEM’s collection at the Brandywine Museum of Art, but the remarkable sweep of the artist’s cross-disciplinary creative brilliance quickly led to this more expansive examination,” said Thomas Padon, the James H. Duff Director of the Brandywine Museum of Art. “In a partnership forged over years of visits to the Wharton Esherick home and studio, conversations and deliberations, and marveling together over the artist’s work, Brandywine and our superb colleagues at WEM developed plans for this long overdue reassessment of Esherick’s contributions to American art.” WEM’s Executive Director, Julie Siglin, added, “Esherick engaged with the world in a collaborative way; likewise, this exhibition has been a fundamentally collaborative effort from the start. WEM is thrilled to share Esherick’s legacy more broadly with the world through this exciting partnership with the Brandywine.”
Although The Crafted World is not a comprehensive retrospective of the artist’s career, the exhibition uses WEM’s significant collection, made up largely of the works Esherick surrounded himself with, to highlight his integrated approach to living and artmaking. “Visitors to The Crafted World will be introduced to the artist’s singular voice, creativity and skill in a way that recontextualizes the objects with innovative thematic approaches to his work,” said Amanda Burdan, Senior Curator at the Brandywine, who provided organizational and curatorial guidance and coordination for the exhibition. “Works on view will explore Esherick’s intimate connection to the natural world and its materials, his skillful design approach and problem solving, interest in performance and the body, fascination with the natural world, enduring imaginative spirit, and even his wry sense of humor.”
The Crafted World will be accompanied by a fully illustrated catalogue published by Rizzoli Electa. In addition to an essay by Zilber, this major publication includes contributions by Sarah Archer, a design and culture writer based in Philadelphia; Colin Fanning, Assistant Curator of European Decorative Arts at the Philadelphia Museum of Art; Ann Glasscock, Associate Curator and Decorative Arts Specialist at the Taft Museum of Art; Holly Gore, WEM’s Director of Interpretation and Associate Curator of Special Collections; and photography by Joshua McHugh, a renowned New York–based photographer who specializes in interior, architecture and design. Support for the exhibition catalogue is provided by the Decorative Arts Trust and the Furthermore Foundation.
Following its presentation in Chadds Ford at the Brandywine, The Crafted World of Wharton Esherick will travel to the Chazen Museum of Art in Madison, Wisconsin, and the Taft Museum of Art in Cincinnati, Ohio.
Posted 9-18-24
The school year is underway
By Steven Brodsky
… and great arts education programs are furthering the ability of students to see and portray the “many colors in a flower.”
Such a program might enable the little boy we met in “Flowers Are Red” to negate the negative impact of his first-day-at-school learning experience.
This would be possible, thanks to the transformative power of arts education and the presence of talented and caring teachers!
Posted 9-13-24
‘Frank Stewart’s Nexus: An American Photographer’s Journey, 1960s to the Present’ exhibition is on view at the Brandywine Museum of Art
By Steven Brodsky
Frank Stewart at the Brandywine Museum of Art for a Frank Stewart’s Nexus: An American Photographer’s Journey, 1960s to the Present media event Photo by Steven Brodsky
… The exhibition will be open through September 22, 2024.
New data indicates that the arts and cultural industries contributed 4.3 percent of gross domestic product (GDP), $1.1 trillion, to the nation’s economy in 2022 — an all-time high
By Steven Brodsky
From a press release that was issued by the National Endowment for the Arts (NEA) on March 25, 2024:
Washington, DC—New data released today show arts and cultural industries hit an all-time high in 2022, contributing 4.3 percent of gross domestic product (GDP), or $1.1 trillion, to the U.S. economy. However, growth was not sector-wide, with performing arts organizations, non-government museums, and arts-related construction among the arts industries that have yet to reach their pre-pandemic levels of economic value. These findings and more come from the Arts and Cultural Production Satellite Account (ACPSA), a product of the National Endowment for the Arts (NEA) and the Bureau of Economic Analysis (BEA) that tracks the annual economic value of arts and cultural production from 35 industries—including both commercial and nonprofit entities. A national summary report and an accompanying interactive graphic are available on arts.gov, along with state-level estimates.
NEA Chair Maria Rosario Jackson, PhD, said, “Research again shows that arts and culture make up a significant portion of our nation’s GDP, contributing to the strength of our national and state economies. While this is evidence of important contributions, there is also evidence of a more complicated story in which dimensions of the cultural sector are still struggling. Alongside economic value, we must also remember that arts and culture improve Americans’ lives and communities in many other tangible ways. We will continue to tap rigorous research and evaluation to tell the story of these enduring contributions.”
Arts and Cultural Industries as an Overall Sector
The overall arts economy grew by 4.8 percent in inflation-adjusted dollars between 2021 and 2022, a rate increase far surpassing that for the entire U.S. economy during the same time period. Since the pre-pandemic year of 2019, arts and cultural industries have surged by 13.6 percent. By contrast, the U.S. economy grew by 5.5 percent over the same period.
Top Arts and Cultural Industries
The top five industries by total value added to the U.S. economy in 2022 were: web publishing and streaming, broadcasting, government services (including public schools), publishing, and motion picture and video industries. The largest arts and cultural industry in the U.S., web publishing and streaming services, grew 40.9 percent in value added to GDP since 2019. Yet, from 2021 to 2022, this industry declined for the first time in recent history (by 1.4 percent).
In terms of percent growth in value added, in 2022, 25 out of 35 arts industries posted amounts exceeding 2019 levels, including agents and managers, sound recording, computer systems design, web publishing and streaming, and interior design services.
Arts and Cultural Industries that Declined in Economic Value
Six arts and cultural industries saw substantial declines—custom architectural woodwork and metalwork manufacturing, arts-related construction, printed goods manufacturing, photography and photo-finishing services, rental and leasing, and theatrical ticket agencies. Each of these industries showed a more than 10 percent decline in its economic value from 2019 through 2022.
Recovery of Performing Arts-Related Industries
The value added by three industries—independent artists, writers, and performers; performing arts presenters; and agents/managers—have all outstripped 2019 levels. (For example, the value added by independent artists, writers, and performers has jumped by 13.5 percent since 2019, with 18.4 percent growth between 2021 and 2022.) Performing arts organizations saw a steep decline in value added between 2020 and 2021. Between 2021 and 2022, however, the industry made a sharp comeback (an increase of 76.5 percent). Despite this rise, the value added by performing arts organizations is still below the pre-pandemic (2019) level. Note: the arts and cultural industries tracked in this account include both commercial and nonprofit entities.
Arts and Cultural Employment
In 2022, total arts and cultural employment recovered to pre-pandemic levels, with nearly 5.2 million workers employed to produce arts and cultural goods and services, for $540.9 billion in total compensation. (Note: ACPSA does not count self-employed artists and other cultural workers in its employment figures.) The top arts industries for employment include government services, arts retail, motion picture and video industries, broadcasting, and web publishing and streaming. Most arts industries (30 out of 35) saw gains in employment from 2021 to 2022. Overall, nearly half of all arts industries (17 out of 35) had higher employment levels in 2022 than in the pre-pandemic year of 2019.
Arts and Cultural Imports and Exports
From 2021 through 2022, arts and cultural exports continued to increase; the trade surplus rose from $15.5 billion to $21.0 billion. Top imports in 2022 included jewelry and silverware, audio/visual production services for TV and movies, and other manufactured goods such as glass and china. Top arts export commodities included creative advertising, information services such as audio/visual production for TV and movies, and arts-related software publishing.
State Economic Data on Arts and Cultural Industries
Between 2021 and 2022, every state and the District of Columbia saw growth in value added to their economies from arts and cultural industries, with 21 states showing increases of 10 percent or greater, when not adjusting for inflation. The added economic value from arts and culture surpassed 2019 levels for every state and DC. In terms of employment, although 45 states and DC have seen stable or growing arts and cultural employment from 2021 to 2022, only 20 states have reached or surpassed their 2019 levels.
For information on specific states, BEA has available Arts and Cultural Production Satellite Account fact sheets for each state. In addition, the National Assembly of State Arts Agencies (NASAA), in partnership with the NEA, has created an interactive dashboard with information on value added to state economies through arts and cultural production, as well as employment and compensation figures for the creative workforce.
Using the Arts and Cultural Production Satellite Account Data
On April 2, 2024, the NEA will launch a new suite of research-and-data tools as part of its National Arts Statistics and Evidence-based Reporting Center (NASERC). One resource, the Arts Indicators Project, will highlight key developments and trends across four domains, including arts and cultural assets, and will reference the ACPSA along with other data sources. More information will be available in a webinar on April 2, “Monitoring the U.S. Arts Ecosystem” that will explore the importance of public data in the arts. Participants will include NEA Chair Jackson and Vipin Arora, director of the Bureau of Economic Analysis, among others. Visit arts.gov for additional details and to register.
Victoria Browning Wyeth is the granddaughter of Andrew Wyeth and the niece of Jamie Wyeth. She is the great-granddaughter of N.C. Wyeth. Victoria is widely known for her dynamic gallery talks and lectures on the life and art of Andrew Wyeth. Victoria is a gifted photographer; her photos have been exhibited at a number of museums.
What are some of your fondest memories of your grandmother?
One of my fondest memories of my grandmother were our nicknames for each other. I always called my grandmother by two names: “Betsy” or “Mamma Sheep Turd.” I realize the second name might raise a few eyebrows so let me explain. I grew up in New York City, but would spend every summer in Cushing Maine with my grandparents. As a young girl, and as a grown woman, I have always detested sand, dirt and bugs. When I was about nine or so, my grandparents purchased Allen Island (near Port Clyde, Maine), and, in addition, a very large flock of sheep to help with the lawn “maintenance. Along with the sheep came sheep turds…. EVERYWHERE. So, she called me “City Slicker” and I called her “Mamma Sheep Turd.” When I was in college and we wrote each other letters, the post office at my college would giggle when they handed me a letter because of the return address. I always smile when I think of the looks people gave us when we used these names for each other.
My second fondest memory was when she taught me to put on makeup and put my hair in a French twist. I can still feel her hands in my hair helping me pin it up. When it came to applying makeup she would always say, “Vic… less is more.” To this day I am not much of a makeup person.
Finally, my most recent favorite memory involved cooking for my grandmother (and my uncle Jamie) on Sunday nights. Betsy was the chef in the family – her meals were simply out of this world yummy. Mashed potatoes, cookies, creamed eggs, popovers, etc. You name it and she could make it. After my grandfather died she scaled back her cooking quite a bit. Around six or seven years ago I started cooking Sunday dinners for my family. I wasn’t the best chef at first; I burned fish more than I would like to admit. One of the things that still brings a smile to my face was watching her gobble up every last morsel. She would look at Jamie and me and say, “mmmmm this is good.”
Betsy handled much of the business affairs of her husband Andrew. What prepared her for this?
She always had such a powerful business sense. I’m not quite sure where this came from, but she handled Andy’s business affairs with such grace and intelligence. She was quite the inspiration.
Please describe how Betsy furthered the career of Andrew?
My grandmother helped further his career by supporting him in numerous ways. The most important was through her love: she loved him with all of her heart. She would always tell him what she thought of his newest painting – if he needed to simplify something, if the color was too intense, etc. She was also very instrumental in titling many of his paintings.
What was the extent of Betsy’s involvement in titling the paintings of her husband?
She had a huge role in the titles. Take the painting Wind from the Sea. When my grandparents were discussing the piece Betsy said, “It looks like a wind is coming in from the sea.” Andy replied, “That’s it!! Wind from the Sea.” Her vocabulary was most impressive. For example, she would do the New York Times crossword puzzles in ink. This gave her an incredible bank of words to choose from when she helped to title the work.
Her ability to title wasn’t limited to paintings: when I was in graduate school and writing long research papers, I would call her and tell her my paper topic. She would then call me back with a title. For example, I wrote a paper on shell shock in British troops during World War I. She came up with the title “Over the Top.”
Were you able to observe Andrew while he was painting? If you were, did he discuss what he was working on?
Andy HATED having people watch him paint. He felt that having you watch him paint was an invasion. The only times I watched him paint were: (1) outside my window in the summer. He would work on watercolors or drawings outside my parent’s house in Cushing, Maine. He didn’t know I was looking, but I was. I couldn’t help myself. This is when I was a young girl (under 13). (2) When I would accidentally walk into the house when he was working on something. I would apologize and he would smile and say, “Hi darlin’. I’m just finishing up.” (3) When I posed. This was my favorite because we got to discuss everything. I would barrage him with all sorts of questions about his work, his life, his friends, etc. The last time I posed (back in 2005) I was giving lectures at the Brandywine River Museum. It was so cool because I would incorporate what we talked about into my gallery talk that day.
How sensitive was Andrew to what critics wrote about him?
He couldn’t have cared less what the critics thought.
Which paintings of his do you believe he remained most attached to?
He was almost always most attached to the painting that he was working on.
To your knowledge, were there times in Andrew’s life when he was without artistic inspiration? If there were, how did he reacquire inspiration?
To the best of my knowledge this never happened. Even when he was in the hospital (for a hip replacement) he drew his hospital room and the view out the window. He was inspired by everything and everyone.
Of the photos that you took of Andrew Wyeth, is there one that especially evokes cherished memories? Can you share those memories with us?
The one I took of him painting outside my window in Cushing, Maine. He was painting me and we would start working very early in the morning – 6:45 a.m. I overslept one morning and rushed downstairs. As I looked out of the living room window, I found him sitting out there with his watercolor pad on his lap, tissues everywhere (to blot the paper) and his watercolor box by his side. Whenever I get sad and miss him, this is what I think of and it always makes me smile.
You’ve given many pro bono talks. Which of those talks have been most gratifying to you? Please tell us why.
My favorite talks, pro bono and paid, have been the ones I have done at the state and local prisons. I feel that those who are incarcerated should be exposed to art as much as possible. Since they can’t go to a museum, I bring a museum to them. For example, this past January I lectured on the work of my grandfather to the gentlemen at the Maine State Prison in Maine. I went on January 16th – which is a very special day for me – the anniversary of my grandfather’s death. It was a beautiful snowy day and I packed my car up with a bunch of my uncle’s and grandfather’s watercolors and drawings and headed to the prison. I thought it would be fun to create a pop-up gallery in the prison and even more interesting to bring one of my grandfather’s models with me. It was a very special day for all of us. I will never forget looking at the reactions on the guys faces as they looked at the art.
The Brandywine River Museum of Art is currently closed to the public (as are other museums) because of the COVID-19 crisis. Is there a painting in the Museum’s collection by Andrew Wyeth that, at this moment, you are especially looking forward to seeing when the doors reopen?
I love seeing my grandmother’s portrait – Maga’s Daughter. I’m very excited to go visit her and say hi.
