Philadelphia Antiques Show 2018

through either purchase or gifts. Collectors have taken note of our efforts to integrate contemporary decorative arts into the Museum’s established canon. This progressive shift corresponds with academia, auction houses, and art fairs’ grow- ing interest in this burgeoning field. Many important objects are surfac- ing as a result, much to the benefit of museums. Acquired in 2013, Peter Voulkos’, Untitled (1956) was one such newly-emerged sculpture that changed our understanding of his early works, practice, and trajecto- ry. Mr. McNeil understood that the field of modern and contemporary decorative arts needed advocacy and legitimacy. I am building and shaping a much needed foundation for this field that could only be ac- complished through a curatorial position at an institution of our stature. The engagement this work requires is like no other I’ve expe- rienced in my thirty year career. To say that it is an exciting time to be working with this material would be an understatement! Those who know me well would say I am ridic- ulously enthusiastic. DB: Construction is moving along at the Museum’s Main Building. What is in store for American Art in this construction phase? AK: In late 2020, we are slated to openournewlyreinstalledcollection of early American art—that dating from 1650 to about 1840—in new galleries on the southwest side of the Main building’s ground floor. The curatorial team is working hard to broaden our interpretation and re-present our collections and America’s art history in a contemporary, thought-provoking way. We will showcase the diversity of European cultures who settled in what became the United States, as well as in Mexico and Latin America, with a focus on Philadelphia and Pennsylvania. Certain aesthetics and tools that have proven to be successful—such as several we liked from the 2016 “Classical Splendor” exhibition— will be adopted for the new galleries. At the heart of it, we take our cues from the collection of art we curate—the art tells the story. Visitors will see favorite treasures in a new light and other works of art for the first time. EA: Although the collections I am responsible for are not part of our upcoming reinstallation of early American art, over the past eleven years I have made acquired a handful of contemporary decorative art objects that are in direct conversation with our historic holdings in paintings, sculpture, and decorative arts. My intention is to use these objects in our new galleries as a conduit through which our visitors can see that the past and present are in dialogue with one another. While the main thrust of our department’s energy is currently directed towards planning the early American art galleries, I am also beginning to percolate ideas about the reinstallation of our first floor galleries, which will include the modern collections. American Art will also figure in Kataro Shirayamadani, Japanese (active United States), 1865 - 1948, active at Rookwood Pottery, 1887 - 1911 and 1921 – 1948, decorator, Rookwood Pottery, Cincinnati, Ohio, 1880 – 1960, manufacturer, Vase, 1899, Glazed stoneware, Gift of John T. Morris, 1901 John Bartlam Factory, Tea Bowl Cain Hoy, South Carolina, 1765 – 1770 Soft-paste porcelain with underglaze blue hand-painted (interior) and transfer-printed (exterior) decoration. Purchased with the Baugh-Barber Fund, 2012 W 110 W