A monumental sculpture by acclaimed artist Simone Leigh has been installed at the corner of 34th and Walnut Streets, thanks to the generosity of Penn alumni couple Glenn, W’87, WG’88 and Amanda, C’95, Fuhrmann.
Titled Brick House, the piece depicts a Black woman’s head atop a form that suggests a skirt or perhaps a building. Cast in bronze, the work stands 16 feet high, 9 feet in diameter at its base, and weighs 5,900 pounds.
“Ms. Leigh’s sculpture brings a striking presence of strength, grace, and beauty—along with an ineffable sense of mystery and resilience—to a central crossroad of Penn’s campus,” said President Amy Gutmann. “When Glenn and Amanda Fuhrman first approached Penn over a year and a half ago, I was absolutely delighted by the possibility of bringing this spectacular work of art to Penn. Its enthralling presence of Black beauty with artistic references to the African diaspora will draw the attention of everyone walking or driving past one of the most travelled corners in West Philadelphia.
“And how perfectly fitting it is that we welcome Brick House to our campus at the same time as we redouble our collective efforts to confront issues of racial justice,” Gutmann continued. “Brick House adds immeasurable depth to the public art accessible for viewing and studying across Penn’s campus. We look forward to it generating countless conversations about its meaning and significance.”
The Fuhrmans first encountered Leigh’s work in 2016. “We immediately felt an almost visceral sense of both its historical resonance and incredible connection to our contemporary reality,” said Mr. Fuhrman. “Because we were aware that Simone felt strongly about having this particular work reside on a university campus, we advocated for bringing it to Penn, where it can be seen by a large and diverse population.”
Leigh imbues her work with historical relevance. The cowrie shells that adorn the braids on the sculpture simultaneously symbolize wealth and femininity, and also the African slave trade in which cowrie shells were used as currency. Global inspirations for the abstract skirt-like base come from African architecture, and also the restaurant Mammy’s Cupboard in Natchez, Mississippi.
“I operate in an auto-ethnographic way, in which I research African and diaspora art objects, material culture and philosophies,” explained Leigh. “Often my work is sparked by underlining texts from Black feminist thinkers. Brick House is not a portrait. It brings disparate forms together in a way that collapses time. I would describe this way of building sculpture as ‘critical fabulation.’”
At a time of expanding awareness of racial justice and serious reconsideration of the nation’s history, Brick House—installed during the concluding year of The Power of Penn Campaign—is a remarkable and timely addition to public art at Penn. Not only will it serve as a rich resource for members of the Penn community and surrounding neighborhoods, it will be viewed by thousands of regional, national, and international visitors a year to Penn’s vibrant pedestrian-friendly campus.
