November 26, 2012 |
Linda Lee Alter's collection of art by women, 25 years in the making, makes its public debut at the Pennsylvania Academy of the Fine Arts under the title "The Female Gaze. " At the entrance to the show, visitors are greeted by a monumental ceramic "grandmother" figure by Viola Frey that unequivocally announces not only that one has entered the domain of female art, but that this art easily holds its own with any other. As one quickly comes to realize, the "gaze" in question refers not only to women expressing how they experience daily life and the world, it embodies the intelligence that shaped the collection.
March 26, 2016 |
Sundance is history, Cannes is still weeks - and an ocean - away, and the Philadelphia Film Festival won't pitch its tent again until October. What's a movie fiend to do? Go to a film festival or two, that's what. A happy convergence of small but smartly curated festivals is happening in and around town in the coming weeks. The folks at the Philadelphia Jewish Film Festival launch their monthly series of "CineMondays" tomorrow with an impressive food-centric doc starring Zahav chef Michael Solomonov.
December 31, 2000 |
How come there's so much dance in the next six months of Wednesday Night at the Philadelphia Museum of Art, I asked program coordinator Laura Henrich. Because, she said, "I like it. " What's not to like? "Dance," said George Balanchine, "is music made visible," and there will be lots to see (and hear) in the popular series, now going into the second half of its 10th year. There will be stilt dancers Mark Mindek, Coralie Romanyshyn and Max McGuire (yes, they actually dance on stilts)
September 12, 1991 |
In the last six years, Elsa Longhauser, director of the Goldie Paley Gallery at Moore College of Art and Design, has organized three major exhibitions of art by mentally disturbed people, which is more of this variant of "outsider art" than one might expect to see in a lifetime. Her latest production is "The Artists of Gugging," which presents work by 11 patients at the Austrian State Institution for Psychiatry (known as Gugging) near Vienna. Like many current gallery exhibitions in the city, this one is tied in, at least peripherally, to Festival Mythos, the citywide examination of the role of myth in creativity.
March 27, 1994 |
No major turn-of-the-century American illustrator had a more meteoric career than Joseph Clement Coll. A second-generation Irishman born in 1881 in Philadelphia, he was introduced to illustration and books by his bookbinder father. Upon his graduation from Central High School, the 17-year-old began working as a self-taught professional artist on daily newspapers in New York and then Chicago. This transient phase of his work was followed, while he was still in his early 20s, by swift success in Philadelphia re-creating romantic adventure stories of Medieval knighthood for Sunday magazines - a move that established him as a major illustrator.
September 11, 2011
If one aspect of this fall season stands out, it's that Philadelphia's art community not only has survived tough times, it also has become increasingly cosmopolitan. On any day of gallery-going in the region, you're likely to encounter all the major trends in contemporary art, and then some. The scale and internationalism of Philagrafika 2010 made all things seem possible a mere year ago, but younger galleries and collectives in particular have been a force behind the new spirit of openness, turning over their spaces to artists and curators from across the country and abroad.
December 18, 1994 |
Art books don't have to be massive and glossy to be desirable or useful. Three of the most engrossing new titles this fall don't add up to one fat coffee-table volume, yet each tells a story that begs to be read in one sitting. Death and Disaster, by Paul Alexander (Random House, $23), recounts the bizarre story of the fight over Andy Warhol's estate. It's a Hollywood-style saga of a fierce contest to control millions in art and real estate. Years of legal maneuvering ultimately boiled down to Warhol's importance as an artist.
May 3, 1987 |
The problem with the National Museum of Women in the Arts becomes apparent before one even walks through the door. It's the awkward, ambiguous name, which suggests that this new institution intends to be something more than a museum of art made by women. Perhaps it is; none of the museum's official pronouncements makes its purpose unequivocally clear. Founder and president Wilhelmina Holladay describes it as "the first museum in the world dedicated to the contributions of women to the cultural life of their societies.
August 3, 2000 |
A superlative painting by Edouard Manet would be a spectacular birthday present for anyone. Add a gilt-edged portrait by John Singleton Copley, a pair of surrealist masterpieces, and one of the country's finest collections of Indian painting and you've got the beginning - and only the beginning - of an unparalleled anniversary tribute to the Philadelphia Museum of Art. Its 125th birthday isn't until next year, but the museum already has...
October 23, 1988 |
The first thing one should understand about "The Figurative Fifties," the new exhibition at the Pennsylvania Academy of the Fine Arts, is that contrary to the implications of its catchy title, it's a tightly focused examination of a particular situation in a specific place. "The Figurative Fifties" is not a definitive examination of figurative painting during the 1950s, nor even of American figurative painting, nor even - and this is where one really begins to split hairs - of figurative painting in New York, which by 1950 had clearly become the center of the American art world.