Social Consciousness (1954)

by Sir Jacob Epstein (1880 - 1959)

Photo Caption: Photo Gregory Benson © 2019 for the Association for Public Art
University of Pennsylvania, Memorial Garden Walkway near the Van Pelt Library

  • Title

    Social Consciousness

  • Artist

    Sir Jacob Epstein (1880 - 1959)

  • Year

    1954; installed 1955; relocated 2019

  • Medium

    Bronze, on granite base

  • Dimensions

    Height 12’2″ width 16'6", depth 6'6" (base height 2’3″, width 17'4", depth 7'2 1/2")

Commissioned by the Fairmount Park Art Association (now the Association for Public Art)

Owned by the Association for Public Art, on long-term loan to University of Pennsylvania


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At A Glance

  • Social Consciousness has been relocated from the Philadelphia Museum of Art to the University of Pennsylvania’s campus

  • Originally commissioned for the Ellen Phillips Samuel Memorial to express the American ideal of compassion

  • It was clear that the Memorial could not accomodate the massive sculpture as it took shape

  • Suggests the tenderness and sympathy of humankind and the affliction that makes these virtues necessary

  • Critics have complained that the figures look unnatural, upholding Epstein’s reputation for controversy

PRESS RELEASE: Association for Public Art Relocates Multi-Ton Nevelson and Epstein Sculptures from Philadelphia Museum of Art to University of Pennsylvania >>

Detail of outdoor sculpture on University of Pennsylvania's campus – bronze figure
Social Consciousness in its new location on Penn’s campus. Photo © Gregory Benson for the Association for Public Art.

The Eternal Mother, seated with arms outstretched, casts a stern, sorrowful look at passersby on the University of Pennsylvania campus.

But as the massive sculpture took shape, the artist and the Art Association realized that the planned site in the Samuel Memorial could not accommodate the work

Flanking her are two standing female figures: one representing Compassion, reaching down to comfort a stricken youth collapsed at her feet; and another that personifies Succor (or Death), supporting at the hips a young man who bends backward to embrace her shoulders. The entire group by Jacob Epstein suggests not only the tenderness and sympathy of humankind but also the affliction that makes these virtues necessary.

Epstein was one of the first Westerners to develop a deep appreciation of “primitive” and traditional art. He displayed a particular interest in images of maternity and fertility. His career was punctuated by controversy, however, and his public commissions often prompted such adjectives as “ugly,” “vulgar,” and “vile.”

Social Consciousness in its new location on Penn’s campus. Photo © Gregory Benson for the Association for Public Art.

The commission for Social Consciousness was awarded to Epstein in 1950 by the Fairmount Park Art Association (now the Association for Public Art), which wanted to include in the Ellen Phillips Samuel Memorial a work expressing the American ideal of compassion. But as the massive sculpture took shape, the artist and the Association realized that the planned site in the Samuel Memorial could not accommodate the work. Instead, Social Consciousness was installed in 1955 at the West Entrance of the Philadelphia Museum of Art, where it upheld Epstein’s reputation for controversy.

In 2019, Social Consciousness was relocated from the West Entrance of the Philadelphia Museum of Art to the University of Pennsylvania, along the Memorial Garden Walkway near the Van Pelt Library. The sculpture is on long-term loan to the university from the Association for Public Art. It has been placed in a more contemplative site than its previous location, consistent with the artist’s intentions, near works by Alexander Archipenko, Robert Indiana, John J. Boyle, Claes Oldenburg, and Robinson Fredenthal, among others.

Some critics have complained that the figures look unnatural; others have objected to the lack of strong visual unity among the three separate groups. On the other hand, the work has been praised for its amalgamation of Western and Eastern influences and its “hieratic” stylization that suggests a timeless emotion. It could be argued that the very awkwardness of the figures emphasizes the precariousness and suffering of the human condition.

Adapted from Public Art in Philadelphia by Penny Balkin Bach (Temple University Press, Philadelphia, 1992).

RESOURCES

 

 

Voices heard in the program:

Penny Balkin Bach is Executive Director & Chief Curator of the Association for Public Art (aPA) and the author of many books and articles about public art in Philadelphia.

David Hollenberg served as University Architect at the University of Pennsylvania, where the sculpture is now located, from June 2006 through 2020.

Evelyn Silber is a Senior Research Fellow at the University of Glasglow and author of The Sculpture of Epstein.

Segment Producer: Dallas Taylor / Rowhome Productions

A program of the Association for Public Art (formerly the Fairmount Park Art Association), Museum Without Walls™: AUDIO is an innovative and accessible outdoor sculpture audio program for Philadelphia’s preeminent collection of public art.

User calls Museum Without Walls Audio for Robert Indiana's LOVE sculpture
Photo Albert Yee © 2010 for the Association for Public Art

A “multi-platform” interactive audio experience – available for free by phone, app, or on our website – Museum Without Walls™: AUDIO offers the unique histories that are not typically expressed on outdoor permanent signage.

Unlike audio tours that have a single authoritative guide or narrator, each speaker featured in Museum Without Walls™: AUDIO is an “authentic voice” – someone who is connected to the sculpture by knowledge, experience, or affiliation.

Over 150 unique voices are featured, including artists, educators, scientists, writers, curators, civic leaders, and historians.

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This artwork is part of the Around University City tour

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