April 9, 2012 |
The artist Ellsworth Kelly was there. Joseph Neubauer, the Barnes Foundation vice chairman and donor extraordinaire, was also there. So were dozens of skilled movers, installers, crane operators, and art handlers. A swarm of project managers and members of the Kelly entourage talked and looked on in the shadow of a giant yellow crane angling from the parking lot of the Barnes' new gallery on the Parkway. They had all turned out Monday morning, waiting, as the artist put it, to "bring something back to Philadelphia" - a monumental sculpture by Kelly, his 40-foot-high, eight-ton, stainless steel The Barnes Totem . The Neubauer Family Foundation made the acquisition possible for the Barnes and, as Joseph Neubauer said, for "everyone in the city passing by. " It is the first public work installed here by Kelly, 88 and an undisputed master of American art, since his massive Transportation Building Lobby Sculpture was quietly removed from the old Greyhound office building on Market Street and sold in 1996.
March 8, 2012 |
After a few brief words of praise, the city Art Commission gave its unanimous blessing Wednesday to a soaring Ellsworth Kelly sculpture proposed by the Barnes Foundation for its new site on the Benjamin Franklin Parkway. "This was an easy one," said the architect Emanuel Kelly, a commission member (and no relation to Ellsworth Kelly). The commission's chairman, the painter Moe Brooker, lauded the Barnes for bringing high-profile attention to contemporary art. "I find that very exciting," he said.
May 7, 2009 |
Let's just say, it didn't hurt that the two paintings at the start of the Museum of Art's blockbuster exhibition were of guys in their swim trunks, and the people on the audio guide jumped in talking about homosexuality and nipples. "Cezanne and Beyond," I salute you. You totally got the attention of my children. I could almost see the oxygen flooding to the brain of my sixth grader, who pointed out the nipple weirdness of Cezanne's The Bather moments before the guides in her ears did. And I could see the eighth grader punching the numbers into the audio set when moments before she had vowed not to. Hey, maybe Mom is taking us to something interesting this time?
August 24, 2008 |
In an unassuming gallery on the first floor of the Philadelphia Museum of Art, a special exhibition is showcasing two of the greatest works ever created by artists in America. Both are inextricably bound to the cultural history and identity of Philadelphia - and both nearly disappeared from the city in recent years via out-of-town sales. But Thomas Eakins' The Gross Clinic (1875) and Augustus Saint-Gaudens' Angel of Purity (1902) remain here, thanks in no small measure to the efforts of museum president Anne d'Harnoncourt, who died unexpectedly in June.
May 26, 2006 |
Having recently seen the University of Pennsylvania's annual master-of-fine-arts student show at the Icebox Project Space, as good a litmus test as any of the trends that have currency among young artists, I'd say geometric abstract painting is not the flavor of the moment. Cartoony, or at least image-driven, work reigns for now, as anyone who visited the Whitney Biennial noticed. Contrarians might argue, then, that this is an excellent time to be making abstract geometric work.
April 3, 2005 |
The role of collectors in preserving our art heritage needs to be acknowledged occasionally, and the Main Line Art Center has done just that with its fresh and lively new exhibit, "Main Line Collects: Distinctive Choices. " This display of post-1950 art borrowed from 19 private collections stretching from Bala Cynwyd to Berwyn features 37 works in all media, most of them praiseworthy. Four of these collections were lent anonymously. To the guest curator, Mary Anne Dutt Justice, a former Philadelphia Museum of Art staffer, goes credit for putting the display together.
December 7, 2001 |
Exhibitions of artists' books, which are made as art, are typically frustrating experiences, because the books can't be handled and usually can't be displayed in a way that provides reasonable access. However, the gallery at Arcadia University offers devotees of the genre full immersion, with the most imaginative and satisfying show of artists' books I've ever seen. "Desire Admire Acquire" consists of 150 books published during the last 40 years, displayed on a table-high shelf that rings the gallery.
November 1, 1998 |
The enormous, multicolored wall sculpture by Ellsworth Kelly that for decades peered through the plateglass front of the old Greyhound office building at 17th and Market Streets has been privately purchased and given to the Museum of Modern Art in New York City. The Kelly work - a staccato series of 104 anodized aluminium rectangles and curvy trapezoid panels strung out over 64 feet - became the first piece of abstract public sculpture in Philadelphia when it was commissioned (by architect Vincent Kling)
September 20, 1996 |
Painter Jay DeFeo (1929-1989) was always highly regarded in the San Francisco Bay area, where she lived from her college days in Berkeley to her death from lung cancer at the age of 60. But although she had appeared in the landmark show "Sixteen Americans" at the Museum of Modern Art in 1959, her reputation didn't travel much beyond the San Francisco art world. ("Sixteen Americans," organized by MoMA curator Dorothy Miller, also included Frank Stella, Jasper Johns, Robert Rauschenberg, Ellsworth Kelly and Louise Nevelson, which turned out to be prestigious company.
April 14, 1988 |
In addition to such artists' cooperatives as Momenta, the recent proliferation of exhibition spaces in Philadelphia has produced several galleries set up by artists on their own premises. One of the newest of these "labor of love" galleries is Red Column Studio, run by Yarrott Benz at 2101 Lombard St. Another, a few months older, is the Larry Becker at 43 N. Second St., operated by Becker and Heidi Nivling. Both galleries' public hours are limited, although you can get in by appointment - or, most of the time at Becker, by ringing the bell.