when Dervish eyes are milling …
WALKIN’ PART II – RHYTHMS OF LIFE
May 5 through June 18,1989

As an artist, Maurie Kerrigan is a naturalist and storyteller who uses imagery at once personal and universal. Walkin’ is Part 11 of the Rhythms of Life cycle, an ongoing work exploring the basic rhythms by which we navigate. Part / Rockin’ was completed in 1987. Every aspect of her installation is infused with the elemental rhythm of walking. The sculptural installation — a walking-stick forest complete with turtles and snakes and the synthesizer tape of her own “sound mural” — suggest the immediate physical experience of nature. The frescoes and pastel suites relate fundamental human pleasures; their images, accessible to everyone, appeal to our storytelling instincts. The installation extends to include carved shelves for each suite of drawings. While these supports echo the forms of her walking sticks, the frames relate to each image by reflecting its color and motif. The final component of the installation, the artist’s Walkin’ book, contains reproductions of the exhibition and her essay on the contextual significance of her work.

Anne Monahan
Curatorial Assistant

Checklist
For installation of sculpture, drawing, and sound; all work courtesy of the artist.

Sculpture installation with walking sticks, small clay and Siamese snakes and turtles.

Walking Staff Titles
Birdtalks Bird Song Shaft
My Feet Are Brave but My Head Is Chicken Stick
Tomas’ Dream Stick
Melos (Limb>melancholy) Hearing Shaft
Mask Stick
No Walking Today Stick
Fishin’ Stick
Tipperary Staff
One Dead Stick
Serpent Shaft
Fossil Tail Stick
Fools Sun Grin Stick
Spirit Stick
Egg Shaft
Journey Up the Straight Shaft
Tippee Canoe Stick
Muse Stick

Slow Passage Suite
All oil pastel on silk, 15″ x 12″ framed, 1988
Hand in Fire
Bird and Hand
Union
Hand with Roots
Carrying the Gift

Fresco Panels
All 18″ x 32″ framed, 1988
Everything Austere and Honorable
Nothing but Dust
Waiting
Silence Is the Solution
Movement Is Spirit

Small Tributes Suite
All lead white ground, oil pastel on rag, 1988
Everything Austere and Honorable, 16″x 19″ framed
The Crimson of My Blood, 16″ x 19″ framed
You Without Words, 16′ x 19′ framed
Day’s Vigil, 16″ x 19″ framed
Waiting, 12″ x 15″ framed
Nymphs Who Inhabit My Life, 16″ x 19″ framed
Nothing but Dust, 16″ x 19″ framed

Familiar Landscapes Suites
All oil pastel on rag, 16″ x 19″ framed, 1988
Barrel on the Run
Nature Pond
The Potatoes Look Good
Up on the Roof
Putting the Cart Before the Cow
Canoes Checking Out

States of Space Suite
All lead white ground, oil pastel on rag, 16″ x 19″ framed, 1988
Spirit Stick Story
Knowing Everything Is Just the Beginning
Dinosaur Monument
Death Party Boat
Space Inside
The Wheel of Emptiness

Tributes Suites
All safety yellow ground, oil pastel on rag, 1988
Movement Is Spirit, 13″ x 16″ framed
Silence Is the Solution, 13″ x 16″ framed
Facts Are Hard Stones, 13″ x 16″ framed
My Heart Has Shed, 16″ x 19″ framed
Obtain Without Search, 16″ x 19″ framed

Other Moments Suites
All oil pastel on rag, 16″x 19″ framed, 1988
Just Water Under the Bridge
Gold Balls in Pink Quartz
My Blue Canoe

Landscape Suites
All oil pastel on linen, 23″ x 29″ framed, 1988
A Moment
These Radishes Were Different
Feeling Balanced
Two White Heron in the Jersey Swamp with an Evening Star

Basic Elements Suite
All lumber crayon on rag, 29″ x 37″ framed, 1988
Water
Sky
Earth

Zen Photographs Suite
All oil pastel on rag, 24″ x 30″ framed, 1988
She’s Refinishing the Mast
Farmer Ant
Olympic World Record Zinnias

Searchlights Suite
All lumber crayon on rag, 29″ x 37″, framed, 1988
It Must Be Here Somewhere
I Am Rested

Maurie Kerrigan
Born in Jersey City, New Jersey, 1951

Moore College of Art, Philadelphia, Pennsylvania, B.F.A., 1973
The Art Institute of Chicago, Chicago, Illinois, M.F.A., 1977
Whitney Museum of American Art, New York, New York, Independent Study Program, 1977
Awards in the Visual Arts, AVA 1, National Award, 1981
Pennsylvania Council on the Arts Fellowship Award, 1982
MacDowell Colony Fellow, 1986,1987
Penny McCall Foundation Award, 1987

Selected Individual Exhibitions

1987 Rockin’, Philadelphia Museum of Art, Philadelphia, PA
1985 Drawings 1972-1985, Jeffrey Fuller Fine Art, Philadelphia, PA
Portholes and Other Routes, Max Hutchinson Gallery, New York, NY
1984 Recent Drawings, Jeffrey Fuller Fine Art, Philadelphia, PA
1983 Smoke Fire Ash, Jeffrey Fuller Fine Art, Philadelphia, PA
1981 Ancient Prophesies from the Cosmic Garden, Touchstone Gallery, New York, NY
1979 We Live in the Galactic Boondocks, Eric Makler Gallery, Philadelphia, PA
1978 Punk Life in the New Jersey Swamp, Etage, Philadelphia, PA
1976 No Fishing Today, Etage, Philadelphia, PA

Selected Group Exhibitions
1988
New Art on Paper, Philadelphia Museum of Art, Philadelphia, PA

1987
Marcel Duchamp: The Legacy Continues, Fleisher Art Memorial, Philadelphia, PA

1986
Philadelphia Collects Art Since 1940, Philadelphia Museum of Art, Philadelphia, PA

1984
Varieties of Sculpture Ideas, Max Hutchinson Gallery, New York, NY
Return of the Narrative, Palm Springs Desert Museum, Palm Springs, CA

1982
Beast Show, P.S. 1, Long Island City, New York
Anti-Apocalypse, Ben Shahn Gallery, Wayne, NJ
Awards in the Visual Arts I, travelling exhibition

1980
Projects IV, Institute of Contemporary Art, Philadelphia, PA

1979
Contemporary Drawings: Philadelphia, Philadelphia Museum of Art, Philadelphia, PA

1977
Chicago and Vicinity, The Art Institute of Chicago, Chicago, IL

The Morris Gallery displays the work of outstanding contemporary artists with a connection to Philadelphia, determined by birth, schooling, or residence. The exhibitions are chosen by a committee composed of area artists, museum personnel, and collectors, and the curatorial staff of the Pennsylvania Academy of the Fine Arts. Currently serving on the Morris Gallery Exhibition Committee are: Moe Brooker, Diane Burko, Paolo Colombo, Faith Ginsburg, Dr. Perry Ottenberg, Carrie Rickey, Judith Tannenbaum; Academy staff Judith Stein, Morris Gallery Coordinator, Linda Bantel, Susan Danly, and Frank H. Goodyear, Jr., Ex Officio.

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