October 20, 1990 |
The first reaction of people she meets, when she tells them what she does, is "their eyes glaze over," Marina Pacini observes cheerfully. Pacini, a slim, dark-haired woman born in Colombia 35 years ago, is the one-woman band who, for the last five years, has been coordinating the Philadelphia Arts Documentation Project for the Archives of American Art. Since 1954, when the Archives of American Art launched its initial two-year project -...
August 4, 1993 |
Transitions from one philosophy of art-making to another are never as clear-cut as art history paints them. The documenting of movements or periods as self-contained events is little more than a convenience; in fact, fashions in art, like those in apparel, tend to overlap, mix and generally confound anyone who tries to separate them. The transition from abstract expressionism to pop art during the 1950s and early '60s should be easy enough to understand in this regard. It occurred at a time when contemporary art was beginning to receive a lot of attention, not just in the art press but in the mass media as well.
October 26, 2003 |
The Barnes Foundation has received a grant of $150,000 from the Henry Luce Foundation to support the publication of a comprehensive catalog of the foundation's collection of American art. The foundation's American collection of more than 300 paintings and works on paper is one of its most significant assets. However, in most discussion of the foundation, the American works are overshadowed by the better-known French masterpieces. According to Emily Croll, director of the foundation's Collections Assessment Project, the three-year enterprise will result in a book that describes in detail 100 of the most important American works and illustrate them in color.
November 11, 1990 |
When two artists married in pre-feminist times, the husband always got the better studio in their common domicile - or the only studio, if there wasn't space for two. It was mutually understood that since his career needs took precedence, he was entitled to the prime studio space as a kind of droit du seigneur. If his wife wanted to continue working, she made do with a back bedroom, as Lee Krasner did while Jackson Pollock was pirouetting heroically in the barn- studio that has since become a shrine of abstract expressionism.
March 28, 1997 |
Arnaldo Roche-Rabell was born in 1955, so one would expect that by now he would know who he is. But Roche-Rabell was born in Puerto Rico of mixed European and African ancestry, which seems to have resulted in a pronounced case of cultural anxiety. As a Puerto Rican, he's also an American, but then Puerto Rico isn't a state but more like a possession, so is he really a full-fledged American or a colonial, and how does this uncertainty affect his sense of self-worth? Such questions come naturally after one sees Roche-Rabell's exhibition of paintings in the Museum of American Art. Developed by the Anderson Gallery at Virginia Commonwealth University, "The Uncommonwealth" consists of 21 paintings made since 1985.
September 21, 1992 |
Every year at this time we peruse museum schedules to see what the new exhibition season offers in the way of temptations. Almost every year, we can find something that sounds so appealing we can hardly wait for it to arrive. This season the Philadelphia Museum of Art has lined up three such attractions - a mid-career survey for American sculptor Martin Puryear, the late city views of impressionist Camille Pissarro and a series of photographs by Brazilian Sebastiao Salgado. The work of Puryear, a highly acclaimed artist of international renown, will be seen from Nov. 1 to Jan. 3 in a traveling exhibition organized by the Art Institute of Chicago.
December 16, 1988 |
Latino chic, the fascination with Latin American culture, arts and entertainment that has been snaking a conga line around the country, is beginning to cha-cha-cha its way into Philadelphia. One recent Friday night, four galleries feted openings for Latino artists. Meanwhile, restaurant-goers savored fare from Spain to Brazil at popular establishments such as Tapas (Spanish) in North Philadelphia; Tequila's (Mexican) and Tango's (Argentine), both in Center City, and Caramba (Brazilian)
March 26, 2015 |
If you're trying to measure an artist's notability, one gauge is whether his or her work is owned by a major institution such as, say, the Philadelphia Museum of Art. Yet, of the 50 or so notable artists featured in the museum's exhibition "Represent: 200 Years of African American Art," only five or six have comprehensive entries on Wikipedia, a site that has become, for many, the de facto first stop for information on almost any topic....
January 18, 2013 |
The Philadelphia Museum of Art and three other U.S. institutions have joined to offer a sweeping survey of historical American art for exhibition in South Korea. Museum officials describe the show, which includes more than 100 works drawn from three centuries of American art making, as the first such major survey in Korea. "Many Koreans are aware of American artists such as Jackson Pollock and Andy Warhol, and familiar with post-1960s American art, but not with the work of artists of earlier periods, such as John Singleton Copley, Thomas Cole, Winslow Homer, and Thomas Eakins," Seung-ik Kim, the National Museum of Korea's lead curator for the exhibition and a specialist in Korean modern art and visual culture, said on Wednesday.
June 9, 1989 |
One of the finest collections of privately owned American art began 49 years ago, when Vivian and Meyer Potamkin bought a black, brown and orange lithograph on the Boardwalk in Atlantic City. It cost $10, frame included, and it matched the color scheme of their first apartment. The Potamkins, who now live on Rittenhouse Square, still display that sentimental purchase made shortly before their wedding day - along with works by Winslow Homer, Mary Cassatt, Charles Demuth, Edward Hopper, Joseph Stella, Maurice Prendergast, Red Grooms and Georgia O'Keeffe.