MGNE Members Tour: Corita Kent and the Language of Pop at the Harvard Art Museums on Saturday, December 5th at 11am
- Members: $5.00*
- Non-Members: $10.00*
- Students: Free
*Tours include admission to the Harvard Art Museums. The registration fee is tax deductible and non-refundable. All proceeds go towards subsidizing student membership at MGNE. Space is limited to 20 members.
Join us at the Harvard Art Museums on Saturday, December 5th at 11am for a special tour of the exhibition Corita Kent and the Language of Pop. MGNE President Rebecca Torres will offer insight into the exhibition and lead members in taking a closer look at Corita Kent’s prints.
Famous for designing the image for the 1985 U.S. Postal Service stamp, “Love”— as well as Boston’s iconic Pop landmark “Rainbow Swash,” which covers the 150-foot Boston Gas tank located alongside I-93 south in Dorchester, Massachusetts — Sister Mary Corita Kent juxtaposed spiritual, pop cultural, literary, and political writings alongside symbols of consumer culture and modern life in order to create bold images and prints during the 1960s. Kent is often seen as a curiosity or an anomaly in the pop art movement. However, this exhibition examines Kent’s screenprints to reposition Kent and her work within the pop art idiom, showing how she is an innovative contemporary of Andy Warhol, Edward Ruscha, Roy Lichtenstein, Jim Dine, Robert Indiana, and other pop art icons.
REGISTER TODAY to join MGNE Members on this unique exhibition tour to examine Corita Kent’s printing process of creating her iconic bold, colorful works on Pellon. For example, in her 1967 work handle with care, Kent layered slogans—including words from a button and from a Chevrolet ad (“See the man who can save you the most”)—so that reading them “becomes an act of mental and physical calisthenics, that calls for slow rigorous scrutiny,” says curator Susan Dackerman. Kent also began experimenting with fluorescent inks, likely inspired by the color experimentation and theories of fellow artist Josef Albers. Albers screenprint of layered squares, Wide Light; Tenuous; Full (1962) also appears in the exhibition.