Fall 2024 Highlights

The Philadelphia Museum of Art (PMA) is pleased to announce new exhibitions for Fall 2024, including the North American premiere of The Time is Always Now: Artists Reframe the Black Figure, a site-specific installation by Ghanaian artist El Anatsui, and the first major solo exhibition of Japanese artist Naoto Fukasawa in a U.S. museum.

Exhibitions

Begin Again: Repetition in Contemporary Art
September 7–December 30, 2024
Daniel W. Dietrich II Galleries 150–155
Curators: Erica F. Battle, Luiza Repsold França

Highlighting contemporary artists who use repetition to draw on familiar themes and specific references, this exhibition will feature works by Francis Alÿs, Trisha Brown, On Kawara, Sherrie Levine, Bruce Nauman, Melik Ohanian, Gabriel Orozco, Anri Sala, and Lorna Simpson, among others. These artists use video, photography, painting, installation, and works on paper to expand upon the legacy of conceptual art of the 1960s, asking what happens when their works reflect and reveal the very methods and conditions of their making.

This exhibition will unfold over three themes: Repeated Gestures, Counting the Days, and Performing Images. Repeated Gestures will feature installations by Bruce Nauman and Anri Sala; Counting the Days will track the passing of time, environments, and weather patterns with works by On Kawara, Rosemarie Trockel, and Anthony Campuzano; and Performing Images will include artists Fiona Banner, Gabriel Orozco, Marepe, and Matthew Suib, who recompose recognizable imagery to examine patterns of visual culture, cinema, and sports. Throughout, the artists in Begin Again harness repetition to heighten the impact and messages of their work.

Atomists: Blindside Run, 1996, Gabriel Orozco, 2 part inkjet prints, laminated and mounted on aluminum, 6 feet 7 inches × 44 inches (200.7 × 111.8 cm), Gift of Nancy and Stanley Singer, 2016, 2016-207-2a,b

Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the PMA. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.
Time Piece, 1990, Lorna Simpson, Eight dye diffusion prints, engraved plastic plaque, Image and sheet (each dye diffusion print): 24 × 20 inches (61 × 50.8 cm), Other (engraved plastic plaque): 10 × 8 inches (25.4 × 20.3 cm), Gift of the Arons Family Foundation in memory of Edna S. Beron, 1996, 1996-2-11a--e

Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the PMA. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.
Date Paintings (twelve), 2001, On Kawara Liquitex on canvas, Painting: 10 × 13 1/2 inches (25.4 × 34.3 cm) each box with dated materials: 10 3/8 × 13 1/2 × 1 13/16 inches (26.4 × 34.3 × 4.6 cm) each, Box with lid: 10 1/2 × 14 × 1 7/8 inches (26.7 × 35.6 × 4.8 cm) each Purchased with funds contributed by the Committee on Modern and Contemporary Art and with funds (by exchange) from the bequest of Henrietta Myers Miller, 2002, 2002-203-1a,b--12a,b

Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the PMA. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.
Walks In Walks Out, 2015, Bruce Nauman Single-channel HD video installation with sound, Duration: 3 minutes Jointly owned by the Philadelphia Museum of Art and the Pinault Collection. Funding for the Philadelphia Museum of Art was made possible by the Henry P. McIlhenny Fund in memory of Frances P. McIlhenny, John Alchin and Hal Marryatt, Keith L. and Katherine Sachs, and Constance and Sankey Williams, with additional generous support from Mr. and Mrs. Edgar Bronfman, Isabel and Agustín Coppel, Linda and George Kelly, Mari and Peter Shaw, Dennis Alter, Barbara B. and Theodore R. Aronson, Jill and Sheldon Bonovitz, Kimberley H. Gray, Mr. and Mrs. Berton E. Korman, Jane and Leonard Korman, Marguerite and Gerry Lenfest, Mitchell L. and Hilarie L. Morgan, and other donors, 2017, 2017-8-2a--c

Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the PMA. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.
Break Point, 1998, Fiona Banner (Artist/Maker), Frith Street Gallery, London (Publisher), Wallis Screenprint, Kent, England (Printer) Color screenprint, printed in red ink, Sheet: 6 feet 7 inches × 8 feet (200.7 × 243.8 cm) Purchased with the Hunt Corporation (formerly Hunt Manufacturing Co.) Arts Collection Program, 1998, 1998-135-1

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Philadelphia #2, 2003, Trisha Brown, Charcoal and oil stick on paper, Sheet: 8 feet 6 inches × 10 feet 1/16 inches (259.1 × 304.9 cm) Purchased with funds contributed by The Judith Rothschild Foundation and other donors, 2003, 2003-93-1

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What Times Are These?
Opens October 19, 2024
Alter Gallery 276
Curator: Eleanor Nairne

The works in this exhibition subtly question the state of the nation, without asserting a fixed political view. The show borrows its title from poet Paul Celan, who grew up in Romania with a German-speaking Jewish family who were killed in the Holocaust. Although he went on to live in Paris, Celan chose to write his poetry in German, a language defiled for him by personal and collective trauma. In his 1971 poem “A Leaf, Treeless”, he put the dilemma frankly: “What times are these, when a conversation is nearly a crime, because it includes so much being spoken.”

Works by Nick Cassway, Vija Celmins, Felix Gonzalez-Torres, and Jenny Holzer will be on view, each fiercely poised by the artist in terms of what can and will be said, often by saying nothing at all.

Untitled (Think), 1967, William Nelson Copley, Image and sheet: 20 7/8 x 25 3/4 inches (53 x 65.4 cm), Purchased with the James D. Crawford and Judith N. Dean Fund, 2003, 2003-78-1

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Protecting Myself the Best I Can (Weapons by the Door), 1994, Lonnie Holley, Terra-cotta pipe, golf club, baseball bats, metal pipe, clothespins, and tape, 35 × 16 × 16 inches (88.9 × 40.6 × 40.6 cm), Purchased with the African American Art fund, and gift of the Souls Grown Deep Foundation from the William S. Arnett Collection, 2017, 2017-229-24

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Untitled (Ocean), 1969, Vija Celmins, Graphite on wove paper prepared with white acrylic paint, Sheet: 14 x 18 3/4 inches (35.6 x 47.6 cm), 1991-19-1

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American Ruff from the "City Flotsam" Series, 2000, Jan Yager, Crack vials, crack vial caps, sterling silver, dimes, 3 x 19 3/4 inches (7.6 x 50.2 cm), Purchased with funds contributed by The Women’s Committee and the Craft Show Committee of the Philadelphia Museum of Art, 2003, 2003-5-2

Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the PMA. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.
Forgotten Emblem of Human Hope, 1951 (negative); 1973 (print), Clarence John Laughlin, Gelatin silver print, Image (sight): 13 11/16 × 10 3/4 inches (34.8 × 27.3 cm) Mount: 20 × 16 inches (50.8 × 40.7 cm), Purchased with funds contributed by Dorothy Norman, 1973, 1973-246-7

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Wallpaper Panels 29 and 30 from “Above the Sound of Ideologies Clashing” Series, 2016, Nick Cassway, Spoonflower, Inc., Durham, NC (Printer), Digital print on opaque white, eco-friendly, FSC certified paper with water-activated adhesive backing, Each (width): 24 inches (61 cm), Purchased with the proceeds from the sale of deaccessioned works of art, 2017, 2017-37-1a,b

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The Time is Always Now: Artists Reframe the Black Figure
November 9, 2024–February 9, 2025
Dorrance Galleries
Curators: Ekow Eshun (organizing curator), Erica F. Battle and Yocari De Los Santos

Marking its U.S. premiere at the PMA, this exhibition will feature works by 26 Black and African diasporic contemporary artists who use figurative painting, drawing, and sculpture to illuminate and celebrate the nuance and richness of Black contemporary life. Through their work, these artists invite us to consider Blackness as a lived experience rather than as a biological fact.

Curated by Ghanaian-born and U.K. based writer and curator Ekow Eshun, The Time is Always Now takes its title from an essay on desegregation by American writer and social rights activist James Baldwin. It is intended to highlight a sense of urgency around contemporary artistic expression, while acting as a reminder that Black artists exist within an always-evolving artistic lineage.

Traveling to the PMA from the National Portrait Gallery in London, the artists in this exhibition work in the U.S. and the U.K. They include Michael Armitage, Kerry James Marshall, Claudette Johnson, Toyin Ojih Odutola, and Amy Sherald. For the show’s U.S. presentation, additional artists working in Philadelphia, London, and New York have been added, including Jonathan Lyndon Chase, Kudzanai-Violet Hwami, Danielle Mckinney, Deborah Roberts, and Arthur Timothy.

The Marchioness, Toyin Ojih Odutola, Charcoal, pastel and pencil on paper, 77 1/2 × 50 1/2 inches (196.8 × 128.3 cm)

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Kind of Blue, 2020, Claudette Elaine Johnson, Gouache, pastel ground and pastel, 48 × 60 inches (121.9 × 152.4 cm). © Claudette Johnson. Courtesy the artist and Hollybush Gardens, London. Photo: Andy Keate.

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Le Rodeur: Exchange, (2016), Lubaina Himid, Acrylic on canvas, 6 1/16 × 8 feet 1/16 inches (183 × 244 cm), © Lubaina Himid. Courtesy of the artist and Hollybush Gardens, London. Photo: Andy Keate.

Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the PMA. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.
Nanny Of The Maroons' Fifth Act Of Mercy, Kimathi Donkor, Oil on linen, 6 feet 10 11/16 inches × 64 15/16 inches × 1 3/16 inches (210 × 165 × 3 cm)

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After the Dance, 2022, Danielle Joy Mckinney, Acrylic on canvas, 40 × 30 inches (101.6 × 76.2 cm), © Danielle Mckinney. Courtesy of the artist, Marianne Boesky Gallery, New York and Aspen

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Yvonne and James, Jordan Casteel, Oil on canvas, 7 feet 6 inches × 6 feet 6 inches (228.6 × 198.1 cm)

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She was learning to love moments, to love moments for themselves, Amy Sherald, Oil on canvas, 54 1/8 × 43 inches (137.5 × 109.2 cm)

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Naoto Fukasawa: Things in Themselves
December 15, 2024–April 20, 2025
Collab Gallery 219
Curator: Colin Fanning

Part of the Collab Design Excellence Award series, this exhibition will honor the work of Japanese product designer Naoto Fukasawa, marking his first major solo presentation at a U.S. museum.

With an approach to functional design that prioritizes ease of use, aesthetic simplicity, and close attention to the ways that mundane objects and environments record our everyday habits, Fukasawa has been a hugely influential force in Japan’s design profession since forming his studio in 2003. This exhibition will build on the PMA’s existing strengths in modern and contemporary Japanese design, with a number of objects from our own collection displayed for the first time. Providing a much-needed opportunity to explore the significance of Fukasawa’s design ethos—from shaping electronics for Samsung’s global market to collaborating with artisan firms on small-batch fine furniture production—this exhibition will demonstrate Fukasawa’s advocacy for a design philosophy of longevity, accessibility, and subtle humor over novelty, ephemerality, or blatant commercialism.

Muji Wall Mounted CD Player. Courtesy of Naoto Fukasawa Design.

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"Cha" Kettle/Teapot, Designed 2014, Alessi S.p.A., Crusinallo, Italy (Manufacturer), Naoto Fukasawa (Designer), Stainless steel, thermoplastic resin, 8 3/4 × 7 1/2 × 5 3/4 inches, 1.9 lb. (22.2 × 19.1 × 14.6 cm, 0.86 kg), Gift of Lisa S. Roberts, 2015, 2015-9-3a--c

Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the PMA. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.
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New Commissions

El Anatsui: Forum Commission
October 10, 2024 – 2026
Williams Forum
Curator: Erica F. Battle, Heather Hughes, Luiza Repsold França, Chika Okeke-Agulu (adviser)

The PMA is thrilled to partner with Ghanaian artist El Anatsui, who has designed a new site-specific installation for the Williams Forum. Widely recognized as one of the most significant artistic innovators of our time, Anatsui has pioneered a new artistic form that draws from African sources and experiments with materials that are often discarded. For the PMA installation, rather than utilizing flattened metal bottle caps that have become signature elements of his sculptures, this work will focus on the security seal left around bottle necks once the cap is removed.

In a striking reconstruction of the body, Anatsui has orchestrated 150 silhouettes that will float at the center of the Forum and, from certain vantage points, will appear to come together in a globe-like shape. Exploring the tension between the individual and the global, and between singular and collective experience, this installation evokes questions and ideas around belonging and connection. Visitors are invited to decide for themselves where on the spectrum of experience the work, and their own perspectives, belong—from being inside a global community or on the outside looking in.

The installation will build on some of the formal and thematic qualities of Behind the Red Moon, Anatsui’s highly acclaimed Hyundai commission at London’s Tate Modern. The first of a two-part collaboration between the PMA and the artist, this marks a key comportment of PMA’s Equity Agenda and the opening of the Brind Center for African and African Diasporic Art, which will bolster work by African and African diasporic artists throughout the curatorial departments.

Portrait of El Anatsui. Courtesy of the artist. Photo: Chika Ezema.

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Basin, 2012, El Anatsui, Found aluminum and copper wire, 134 x 160 inches, © El Anatsui. Courtesy of the artist and Jack Shainman Gallery, New York

Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the PMA. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.
Stressed World (detail), 2011, El Anatsui, Found aluminum and copper wire, 14 1/2 X 19 1/2 feet (overall dimensions), © El Anatsui. Courtesy of the artist and Jack Shainman Gallery, New York.

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Stressed World (detail), 2011, El Anatsui, Found aluminum and copper wire, 14 1/2 X 19 1/2 feet (overall dimensions), © El Anatsui. Courtesy of the artist and Jack Shainman Gallery, New York.

Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the PMA. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.
Stressed World, 2011, El Anatsui, Found aluminum and copper wire, 14 1/2 X 19 1/2 feet (overall dimensions), © El Anatsui. Courtesy of the artist and Jack Shainman Gallery, New York.

Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the PMA. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.
After Rain, Diriyah Contemporary Art Biennale 2024, Logoligi Logarithm (detail), 2019, El Anatsui, 66-part maze of free-hanging curtains made of aluminum and copper wire, Approx. 2100 x 500 x 1000 cm, Courtesy of the Diriyah Biennale Foundation. Photo: Marco Cappelletti

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Installations

Take a Seat: Understanding the Modern Chair
May 25 - October 20, 2024
Gallery 219
Curator: Alisa Chiles

For many designers, tackling a chair is a rite of passage. Some have developed original forms through the application of new technologies and manufacturing techniques, ranging from computer-controlled processes to handcrafted production methods; others have created new chairs by boldly experimenting with unconventional materials, such as paper and cardboard or even recycled materials like plastic grocery bags and fabric waste.

In recent years, the design field’s inclusion of perspectives beyond Europe and the US, notably from Africa and the African diaspora, has fostered increased global collaboration, resulting in especially dynamic designs.

The work on view in Take a Seat: Understanding the Modern Chair is selected from the museum’s permanent collection to showcase the inventive ways modern designers have reimagined this familiar piece of furniture.

Nirvana Chair, 2007, Wendell Castle (American, 1932 – 2018), Polychromed, gel-coated fiberglass with automotive paint, 35 1/2 × 62 × 32 inches (90.2 × 157.5 × 81.3 cm), Purchased with The Leonard and Norma Klorfine Foundation Endowed Fund for Modern and Contemporary Craft, 2019, 2019-44-1

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Pylon Chair, 1991, designed by Tom Dixon (British, born 1959), made by Cappellini S.p.A. (Arosio, Italy, 1946 – present), Painted steel, 50 × 27 × 21 inches (127 × 68.6 × 53.3 cm), Gift from the George R. Kravis II Collection, 2018, 2018-205-25

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Madame Dakar Chair from the M'Afrique Collection, designed 2009, designed by Ayse Birsel (Turkish, active New York, born 1964) and Bibi Seck (French, active New York, born 1965), made by Moroso S.p.A. (Cavalicco, Italy, established 1952), Steel, polyethylene, woven nylon rope, wood, paint, 35 7/16 x 47 1/4 x 70 1/2 inches (90 x 120 x 179 cm), Purchased with funds contributed by Collab: The Group for Modern and Contemporary Design at the Philadelphia Museum of Art, 2011, 2011-134-1

Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the PMA. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.
Meedo Chair, designed 2021, made 2023, designed by Jomo Tariku (American, born 1968), made by David Bohnhoff (American, born 1968), Walnut veneer, epoxy glue, satin finish, paint, 37 1/4 × 16 7/8 × 18 15/16 inches (94.6 × 42.9 × 48.1 cm), Purchased with funds contributed by Techné, and with the European Decorative Arts Revolving Fund and the Collab Acquisition Fund for BIPOC Designers created by Lisa Roberts and David Seltzer, 2023, 2023-10-1

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"Darwin" Chair (prototype), 2010, Hewlett-Packard, Palo Alto, California, Pintor Sirait, Stefan Sagmeister, Laminated Tyvek, stainless steel, epoxy, 37 13/16 × 19 11/16 × 36 1/4 inches (96 × 50 × 92 cm), Purchased with funds contributed by Collab: The Group for Modern and Contemporary Design at the Philadelphia Museum of Art, in honor of Kathryn B. Hiesinger, 2020, 2020-12-1

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A Dialog or a Dance: Portraits in Collaboration
July 27–December 30, 2024
Honickman Galleries 156–157
Curator: Amanda Bock

This exhibition will bring together a diverse group of people and places to explore the relationship between photographers and their sitters. Collaborations with lovers, families, friends, and models—some lasting mere days, and others, decades—share a particular intimacy and immediacy prompted by the mutual trust and engagement between artist and subject. The more than 80 images on view are sourced from the museum’s collection, ranging from candid representations of complex family dynamics to whimsical explorations of selfhood. Never-before-seen photographs by Carl Van Vechten, featuring playful and doting pictures of his lover Mark Lutz, will be displayed alongside more well-known series such as Harry Callahan’s portraits of his wife, Eleanor. Further highlights will include photography’s early adopters Lucy and Charlotte Bridgeman’s mid-1850s Family Album, presented along with LaToya Ruby Frazier’s current project Notion of Family.

Fatima with Coat Tails, From the series Fatima, 2005, Susan Fenton, Gelatin silver print, Image: 14 15/16 × 15 1/16 inches (37.9 × 38.3 cm), Sheet: 19 13/16 × 15 15/16 inches (50.3 × 40.5 cm), Gift of the Estate of Susan Fenton, 2021, 2021-33-4

Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the PMA. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.
Martha Graham - Letter to the World, 1940 (negative); 1969 (print), Barbara Morgan, Gelatin silver print, Image and sheet: 15 × 19 1/2 inches (38.1 × 49.5 cm), Mount: 21 1/8 × 27 inches (53.6 × 68.6 cm), Purchased with funds contributed by Dorothy Norman, 1970, 1970-197-2

Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the PMA. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.
Grandma Ruby and U.P.M.C. Braddock Hospital on Braddock Avenue, From the series The Notion of Family, 2007 (negative); 2019 (print) LaToya Ruby Frazier, Gelatin silver print, 3/8 plus 2 artist's proofs, Image and sheet (sight): 15 1/4 × 19 inches (38.7 × 48.3 cm), Mount (sight): 19 1/2 × 23 1/2 inches (49.5 × 59.7 cm), Purchased with funds contributed by Focus: Friends of Photography, 2020, 2020-97-2

Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the PMA. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.
Call and I Follow, Let Me Die, 1867 (negative), Julia Margaret Cameron, Carbon print, Image and sheet: 13 11/16 × 10 1/2 inches (34.8 × 26.7 cm), From the Collection of Dorothy Norman, 1971, 1971-5-6

Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the PMA. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.
Eleanor, Chicago, 1947, Harry Callahan, Gelatin silver print, Image: 4 5/8 × 3 5/16 inches (11.7 × 8.4 cm), Sheet: 8 × 4 15/16 inches (20.3 × 12.5 cm), Gift of Douglas Mellor, 1981, 1981-78-1

Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the PMA. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.
Eleanor, Lake Michigan, 1952, Harry Callahan, Gelatin silver print, Image: 7 7/16 × 9 5/16 inches (18.9 × 23.7 cm), Sheet: 8 × 9 7/8 inches (20.3 × 25.1 cm), Purchased with the Alice Newton Osborn Fund, 1981, 1981-10-7

Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the PMA. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.

Visions of the Land in Edo Japan
Opens August 2024
Galleries 221–223
Curator: Xiaojin Wu

Drawing from recent acquisitions of Edo-period paintings, as well as remarkable woodblock prints in the museum’s holdings, this exhibition will feature three modes of representing the land: poetic, iconic, and panoramic. Each grouping will show a distinctive and yet interrelated genre within the Japanese landscape tradition, which together, will offer a visual culture of the land, during the rule of Tokugawa family from 1603 until 1868, an era named after the city of Edo, modern-day Tokyo, where the Tokugawa shogunate had its government.

Fine Wind, Clear Day (Gaifū kaisei), also known as Red Fuji, from the series Thirty-six Views of Fuji (Fugaku sanjūrokkei), c. 1831, Katsushika Hokusai, Ōban yoko-e: 10 1/4 × 15 1/8 inches (26 × 38.4 cm), Gift of Mrs. Moncure Biddle in memory of Ernest Fenollosa, 1958, 958-49-5

Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the PMA. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.
Panoramic View of Edo, ca. 1805–1810, Kuwagata Keisai, Hanging scroll; ink, color, gofun (a white pigment made from ground shells) and metallic highlights on silk, Image: 28 x 51 5/8 in. (71.1 x 131.1 cm) Overall: 73 x 57 in. (185.4 x 144.8 cm), Purchased with the Hollis Fund for East Asian Art Acquisitions and the East Asian Art Revolving Fund, 2023, 2023-91-1

Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the PMA. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.
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Firing the Imagination: Japanese Influence on French Ceramics, 1860–1910
August 31, 2024–May 26, 2025
Gallery 251
Curators: Colin Fanning, Alisa Chiles, and Jennifer Thompson

A presentation of the museum’s recently acquired masterworks of French ceramics from the second half of the 19th century, Firing the Imagination will focus on the artists’ fascination with the arts and crafts of Japan. Ceramist Félix-Joseph-Auguste Bracquemond, whose influential remixing of imagery from Japanese prints (particularly Katsushika Hokusai’s skeletons or “manga”), spurred a generation of artists to follow his example. Studying the network of artists that popularized “Japanese-style” decorative arts—the phenomenon that came to be known as japonisme—this exhibition will trace the interpersonal lines of influence and inspiration that shaped an extraordinary period of creativity in European ceramics.

Vase, c. 1889, Ernest Chaplet, Porcelain with sang de boeuf glaze, 11 3/4 × 10 × 10 inches (29.8 × 25.4 × 25.4 cm), Gift of Larry A. Simms, 2018, 2018-6-33

Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the PMA. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.
Plate, 1869, Joseph-Théodore Deck, Hand-painted faience, Diameter: 11 1/2 inches (29.2 cm), Gift of Larry A. Simms, 2023, 2023-166-49

Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the PMA. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.
Vase, c. 1878, Charles Midoux, Earthenware with slip (barbotine), gilt, and silver decoration, 6 1/4 × 13 inches (15.9 × 33 cm), Gift of Larry A. Simms, 2018, 2018-6-34

Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the PMA. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.
Platter from the "Rousseau" Service, 1866-1875, Félix-Joseph-Auguste Bracquemond (1244) (Artist/Maker), François-Eugène Rousseau (27332) (Made for), Lebeuf-Milliet et Cie, Creil and Montereau, France, Glazed faience with transfer and hand coloring, 27 1/2 × 10 3/4 inches (69.9 × 27.3 cm), Gift of Larry A. Simms, 2018, 2018-6-38

Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the PMA. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.
Plate, c. 1874, Albert-Louis Dammouse, Hard-paste porcelain, Diameter: 9 1/2 inches (24.1 cm), Gift of Larry A. Simms, 2023, 2023-166-39

Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the PMA. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.
Dish, c. 1879, Félix-Joseph-Auguste Bracquemond (1244) (Artist/Maker), Haviland & Co., Limoges, France, Glazed earthenware with gold edging, Diameter: 21 3/4 inches (55.2 cm), Gift of Larry A. Simms, 2018, 2018-6-2

Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the PMA. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.

Informal Moments: Portraits from Photography’s First Decade
Opens November 16, 2024
Gallery 256
Curator: Peter Barberie

This installation will bring together a group of early photographic portraits with Edouard Baldus’s celebrated scene, Group at the Château de la Faloise (1857). Early photographers often worked outdoors by necessity, giving up the controlled atmosphere of a studio for abundant sunlight outside. This led then to improvise portrait poses and settings, gradually contributing to changed conventions and subtly influencing developments in their sister arts.

Baldus’s informal group portrait, widely recognized as a proto-Impressionist outdoor scene, will be shown with portraits by Richard Dykes Alexander, David Octavius Hill and Robert Adamson, Jean-Baptiste Frénet, and Charles Nègre, all of which demonstrate the exciting modernity of early photography.

Mrs. Herbert Fisher, 1860s, Julia Margaret Cameron, Albumen silver print, Image and sheet: 10 5/16 × 8 1/16 inches (26.2 × 20.4 cm), Purchased with the Robert A. Hauslohner Fund, 1968, 1968-26-2

Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the PMA. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.
Charlton Park House, 1855, Nevil Story-Maskelyne, Albumen silver print, Image (irregular): 6 x 7 15/16 inches (15.2 x 20.2 cm), Gift of Theodore T. Newbold and Helen Cunningham, 2010, 2010-3-1

Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the PMA. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.
Miss Kemp, 1843-1848, David Octavius Hill, Robert Adamson, Salted paper print, Image and sheet: 8 1/8 × 5 1/2 inches (20.7 × 14 cm), Gift of Harvey S. Shipley Miller, 2014, 2014-199-8

Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the PMA. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.
Group at the Château de la Faloise, 1857, Edouard-Denis Baldus, Salted paper print from a collodion on glass negative, Image and sheet: 11 1/4 × 16 5/16 inches (28.6 × 41.5 cm), Purchased with funds contributed by the American Museum of Photography, 1970, 1970-243-3

Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the PMA. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.
Auguste Vacquerie, c. 1853, Charles Hugo, Salted paper print from a paper negative, Image and sheet: 4 × 3 3/16 inches (10.2 × 8.1 cm), Gift of Theodore T. Newbold, 1983, 1983-203-11

Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the PMA. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.

Framed! European Picture Frames from the Johnson Collection
Opens December 21, 2024
Johnson Study Gallery 373
Curator: Tara Contractor

The installation will highlight picture frames as works of art in their own right, exploring their shifting forms and functions from the altar-like frames of the Renaissance to the experimental, artist-designed frames of the late 1800s. It will include 14 frames from the Johnson Collection, which, together, express the craftsmanship and variety of European frames through the centuries.

Saint Nicholas of Tolentino, 1481, Piermatteo Lauro de' Manfredi da Amelia, Tempera and tooled gold on panel, 47 1/2 x 16 1/2 inches (120.6 x 41.9 cm), John G. Johnson Collection, 1917

Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the PMA. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.
Artist Painting, c. 1879, Jean-François Raffaëlli, Oil on panel, 20 1/2 x 20 7/8 inches (52.1 x 53 cm), John G. Johnson Collection, 1917, cat. 1065

Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the PMA. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.
Two Dutch Vessels Close-Hauled in a Strong Breeze, c. 1672, Willem van de Velde the Younger, Oil on canvas, 17 1/4 x 21 15/16 inches (43.8 x 55.7 cm), John G. Johnson Collection, 1917, cat. 591

Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the PMA. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.
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