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American Art

NEWS
October 20, 1990 | By Leonard W. Boasberg, Inquirer Staff Writer
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 -...
ENTERTAINMENT
August 4, 1993 | By Edward J. Sozanski, INQUIRER ART CRITIC
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.
ENTERTAINMENT
October 26, 2003 | By Edward J. Sozanski INQUIRER ART CRITIC
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.
NEWS
November 11, 1990 | By Edward J. Sozanski, Inquirer Art Critic
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.
ENTERTAINMENT
March 28, 1997 | By Edward J. Sozanski, INQUIRER ART CRITIC
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.
ENTERTAINMENT
September 21, 1992 | By Edward J. Sozanski, INQUIRER ART CRITIC
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.
NEWS
December 16, 1988 | By Patrisia Gonzales, Inquirer Staff Writer
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)
NEWS
July 16, 2014 | By Stephan Salisbury, Inquirer Staff Writer
Richard Mellon Scaife, the billionaire who died July 4, left nearly half his large art collection, a 900-acre Western Pennsylvania estate, and $15 million to the Brandywine Conservancy and Museum of Art in Chadds Ford, according to a will filed with the register of wills in Westmoreland County, southeast of Pittsburgh. Scaife, 82, known for his backing of conservative and libertarian causes, and his support of conservative think tanks such as the Heritage Foundation, was an heir to the Mellon banking and oil fortune, and publisher of the Pittsburgh Tribune-Review and other newspapers.
ENTERTAINMENT
March 21, 2011 | By MARIA ZANKEY, zankeym@phillynews.com 215-854-5444
Mary Cassatt's style of composing lifelike paintings of mothers and children with abstract detail and deliberate brushstrokes solidified her stature in the 19th-century art scene, but this Philadelphia-raised artist's influence travels beyond her maternal subjects. Kathy Foster, the curator of American Art at the Philadelphia Museum of Art, credits Cassatt, who attended the Pennsylvania Academy of the Fine Arts before moving to Paris, as a "wedge" in bringing Impressionistic paintings to the U.S. "Mary Cassatt was not a bohemian," Foster said.
NEWS
November 3, 2014 | By Stephan Salisbury, Inquirer Staff Writer
William Glackens is finally getting a proper homecoming. The Philadelphia-born painter who helped launch one of the 20th century's distinctive American art movements as well as one of the world's greatest collections of impressionist and early modernist art, is the subject of a much-anticipated full-scale museum retrospective opening Saturday at the Barnes Foundation and running through Feb. 2. "William Glackens" is the first complete assessment...
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