Terry Adkins (1953-2014), Native Son (Circus)<\/em>, 2006, fabricated in 2015, cymbals, \r\narmature, and additional technical components, 20 x 96 x 96 in. Art Bridges. Courtesy \r\nL\u00e9vy Gorvy. Photography by Elisabeth Bernstein.<\/p><\/figcaption>\n\t\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\n\t\t\t\t\t
\n\t\t\t\t\t\t \t\t\t\t\t\t\t\t\t\t\t\t\tNick Cave, Drive-By, 2011. Film still. Addison Gallery of American Art, Phillips Academy, Andover, MA, Purchased as the gift of Katherine D. and Stephen C. Sherrill (PA 1971, and P 2005, 2007, 2010), 2012.30. \u00a9 Nick Cave. Photo: Courtesy of the artist and Jack Shainman Gallery, New York<\/p><\/figcaption>\n\t\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t
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\n\t\t\t\t\t\t \t\t\t\t\t\t\t\t\t\t\t\t\tKyra Markham, Square Dance,<\/em> 1945. Tempera on Masonite.\r\nThe Columbia Museum of Art, Gift of Mr. & Mrs. Bruce Lueck.<\/p><\/figcaption>\n\t\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\n\t\t\t\t\t
\n\t\t\t\t\t\t \t\t\t\t\t\t\t\t\t\t\t\t\tNoel W. Anderson, The Last Supper,<\/em> 2022\u201323. Distressed and stretched cotton tapestry, 106 x 160 in. \u00a9 Noel W. Anderson. Courtesy of NWA Studios LLC, New York.<\/p><\/figcaption>\n\t\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\n\t\t\t\t\t
\n\t\t\t\t\t\t \t\t\t\t\t\t\t\t\t\t\t\t\tNoel W. Anderson, The Last Supper,<\/em> (Detail) 2022\u201323. Distressed and stretched cotton tapestry, 106 x 160 in. \u00a9 Noel W. Anderson. Courtesy of NWA Studios LLC, New York.<\/p><\/figcaption>\n\t\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\n\t\t\t\t\t
\n\t\t\t\t\t\t \t\t\t\t\t\t\t\t\t\t\t\t\tCarris Adams, WIGWIGWIG,<\/em>2020. Oil and acrylic on PVC panel, 35 x 40 in. \u00a9 Carris Adams. Courtesy of the artist and Goldfinch, Chicago.<\/p><\/figcaption>\n\t\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\n\t\t\t\t\t
\n\t\t\t\t\t\t \t\t\t\t\t\t\t\t\t\t\t\t\tCarris Adams, WIGWIGWIG,<\/em> (Detail) 2020. Oil and acrylic on PVC panel, 35 x 40 in. \u00a9 Carris Adams. Courtesy of the artist and Goldfinch, Chicago.<\/p><\/figcaption>\n\t\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\n\t\t\t\t\t
\n\t\t\t\t\t\t \t\t\t\t\t\t\t\t\t\t\t\t\tHank O\u2019 Neal, March and Rally from the series Gay Day,<\/em> 1983. Vinyl photo mural, 116 x 252 in. \u00a9 Hank O\u2019Neal. Courtesy of the artist.<\/p><\/figcaption>\n\t\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\n\t\t\t\t\t
\n\t\t\t\t\t\t \t\t\t\t\t\t\t\t\t\t\t\t\tGeorge Bellows, The Circus<\/em>, 1912. Oil on canvas, 33 7\/8 x 44 in. Addison Gallery of American Art, Phillips Academy, Andover, Massachusetts, Gift of Elizabeth Paine Metcalf, 1947.8.<\/p><\/figcaption>\n\t\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\n\t\t\t\t\t
\n\t\t\t\t\t\t \t\t\t\t\t\t\t\t\t\t\t\t\tElijah Burgher, Swallow this whole world whole,<\/em> 2014. Acrylic on canvas drop cloth, 108 x 72 in. \u00a9 Elijah Burgher. Courtesy of the artist and Western Exhibitions, Chicago.<\/p><\/figcaption>\n\t\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t<\/div>\n\t\t\t\n\t\t\t\n\t\t\t\t\n\t \n<\/svg>\n\t\t\t\tPrevious<\/span>\n\t\t\t<\/button>\n\n\t\t\t\n\t\t\t\t\n\t\n<\/svg>\n\t\t\t\tNext<\/span>\n\t\t\t<\/button>\n\n\t\t<\/div>\n\t<\/div>\n<\/aside>\n\n\n\n\nBlock Party: Community and Celebration in American Art<\/em> coincides with the 250th<\/sup>anniversary of Westmoreland County. It is organized by Jeremiah William McCarthy, Chief Curator, with Danny Volk, Terra Foundation for American Art Curatorial Fellow.<\/p>\n\n\n\nSupport for Block Party<\/em> is generously provided by The Heinz Endowments, The Hillman Exhibition Fund of The Westmoreland Museum of American Art, and The Fine Foundation.<\/p>\n\n\n\n\n
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<\/figure>\n\n\n\n <\/figure>\n<\/div>\n\n\n\n <\/figure>\n<\/div>\n\n\n\n The Block Party<\/em> exhibition logo includes the font Mixo by Matthieu Cannavo (Velvetyne Type Foundry).<\/p>\n\n\n\n\n
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<\/p>\n","protected":false},"excerpt":{"rendered":"
This exhibition takes as its point of departure the World War I\u00a0innovation of the urban \u201cblock party,\u201d and uses it as a lens to view ideas on belonging, activism, and mutual solidarity in historical and contemporary American art. Drawn largely from the museum\u2019s collection, amplified by key loans from distinguished public and private collections, the show celebrates the 250th anniversary of Westmoreland County.<\/p>\n","protected":false},"featured_media":27911,"template":"","exhibition-tag":[249],"class_list":["post-29086","exhibition","type-exhibition","status-publish","has-post-thumbnail","hentry","exhibition-tag-249"],"acf":[],"_links":{"self":[{"href":"https:\/\/thewestmoreland.org\/wp-json\/wp\/v2\/exhibition\/29086"}],"collection":[{"href":"https:\/\/thewestmoreland.org\/wp-json\/wp\/v2\/exhibition"}],"about":[{"href":"https:\/\/thewestmoreland.org\/wp-json\/wp\/v2\/types\/exhibition"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/thewestmoreland.org\/wp-json\/wp\/v2\/media\/27911"}],"wp:attachment":[{"href":"https:\/\/thewestmoreland.org\/wp-json\/wp\/v2\/media?parent=29086"}],"wp:term":[{"taxonomy":"exhibition-tag","embeddable":true,"href":"https:\/\/thewestmoreland.org\/wp-json\/wp\/v2\/exhibition-tag?post=29086"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}