24
January
2018
|
12:19 PM
America/New_York

Upcoming Exhibitions through Fall 2018

Design in Revolution: A 1960s Odyssey
February 3 — September 9, 2018
Collab Gallery

This broad survey explores how artists, designers, and architects participated in the radical cultural changes of the 1960s and helped shape design trends during this tumultuous period. With highlights including psychedelic and geometric Op Art posters, the original bean bag chair, and Pop dinnerware sets, Design in Revolution focuses on topics ranging from artistic exchanges between art and design; innovations in materials and technologies; music, design, and craft. Featured prominently are rarely seen vintage rock ‘n’ roll concert posters from the Museum's collection. Psychedelic covers such as Axis: Bold as Love, by the Jimi Hendrix Experience (1967); Disraeli Gears, by Cream (1967); Let It Bleed, by the Rolling Stones (1969); and Space Oddity, by David Bowie (1969) are on display.

Curators
This installation is organized by Juliana Rowen Barton, Andrew W. Mellon Predoctoral Fellow; with Kathryn Bloom Hiesinger, the J. Mahlon Buck, Jr. Family Senior Curator of European Decorative Arts after 1700

  • The Jimi Hendrix Experience, 1967, Probably designed by Fantasy Unlimited. Offset lithograph. Philadelphia Museum of Art: Gift of Collab: The Group for Modern and Contemporary Design at the Philadelphia Museum of Art from the collection of Vance N. Jordan.
    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.
  • Crying Girl, 1963, by Roy Lichtenstein, American, 1923–1997. Published by Leo Castelli Gallery, New York. Printed by Colorcraft Offset Inc. Offset lithograph. Philadelphia Museum of Art: Purchased with the Haney Foundation Fund
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  • Designed by Seymour Chwast, "End Bad Breath" Poster. Offset lithograph, 1967.
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  • Videosphere Television/ Made for Victor Company of Japan, Ltd./ Designed 1970
    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.
  • Dinner Service. Designed by Roy Lichtenstein/ Designed 1966. Earthenware with enamel decoration
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  • Designed by Milton Glaser, "Bob Dylan" Poster. Offset lithograph from an ink drawing with a Cello-Tak overlay. Designed 1966.
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  • Designed by Victor Moscosco, Big Brother and the Holding Company, Horns of Plenty, Mount Rushmore, Quicksilver Messenger Service, 1967. Offset lithograph.
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  • Woman’s Long Dress, Late 1960s–early 1970s, Designed by Rudi Gernreich, American (born Vienna), 1922–1985. Wool knit with knit appliqué and trim. Philadelphia Museum of Art: Gift of Dorothy Nofer
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  • Birmingham Race Riot, 1964, From the portfolio Ten Works by Ten Painters, by Andy Warhol, American, 1928–1987. Printed by Ives-Sillman, Inc., New Haven, Connecticut. Published by Wadsworth Atheneum, Hartford, Connecticut. Photoscreenprint. Philadelphia Museum of Art: Purchased with the Director’s Discretionary Fund
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  • Transparency: Clip-o-matic Lips, 1967, by Joe Tilson, British, born 1928. Printed by Paul Hubbard, active late 20th–early 21st century. Printed at Kelpra Studio, London, founded 1957. Published by Galerie Brusberg, Hannover, Germany, 1972–1985. Screenprint and photoscreenprint on paper and acetate film with metallized film. Philadelphia Museum of Art: Purchased with the Leo Model Foundation Curatorial Discretionary Fund
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  • “Lunar Rocket” Printed Textile, 1969, Designed by Eddie Squires, English, 1940–1995. Manufactured by Warner & Sons Limited. Screen-printed cotton plain weave. Philadelphia Museum of Art: Gift of Warner and Sons Ltd.
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  • Untitled, From the series Martin Luther King Funeral, 1968, by Dean Brown, American, 1936–1973. Kodalith print. Philadelphia Museum of Art: Gift of Theodore T. Newbold and Helen Cunningham.
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  • Flag of the United States, Around 1967, by William Nelson Copley, American, 1919–1996. Wool. Philadelphia Museum of Art: Gift of The Young-Mallin Archive.
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Keith Smith at Home
February 17 — July 8, 2018
Julian Levy Gallery
Press Preview: Thursday, February 15

This is the first major monographic presentation of this artist’s work in half a century. Spanning his career, the exhibition brings together exceptional and varied examples of handmade books, mixed media, photographs, prints, drawings, and fabric pieces. Many of the selected works are from his personal archive and have never been seen before in a public setting.

Smith’s art is noteworthy for its refusal to distinguish between “fine art” (such as photography, etching, watercolor), “craft” (hand sewing, bookmaking), and “utilitarian technologies” (transparencies, photocopies). With these materials, Smith creates an immersive world of objects and pictures rooted in a personal narrative. His interest in experimenting with new material and technological processes has resulted in over 280 unique books. Among the highlights will be Book Number 82 – Keith Smith at Home, the work from which the exhibition title is derived, along with other key examples such as Eye Quilt, Alan Undressing, and Me at My Shed.

Keith Smith is represented in leading international public and private collections, including the Art Institute of Chicago; Metropolitan Museum of Art, New York; The Morgan Library, New York; Museum of Fine Arts, Houston; Museum of Modern Art, New York; The New York Public Library; The J. Paul Getty Museum, Los Angeles; and the Victoria and Albert Museum, London.

Curator
Amanda Bock, The Lynne and Harold Honickman Assistant Curator of Photographs

  • Me at My Shed About to Go after the Mail, 1973, by Keith Smith, American, b. 1938. Gelatin silver print with colored ink washes and machine stitching. Courtesy of Bruce Silverstein Gallery, New York. © Keith Smith.
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  • Book Number 82, Keith Smith at Home, 1982, by Keith Smith, American, b. 1938. Artist’s book with gelatin silver prints, colored ink washes, pen and ink, and decorative paper borders. Collection of the artist. Courtesy of Bruce Silverstein Gallery, New York. © Keith Smith.
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  • Margaret Gave me a Rainbow, 2:30pm 21 November, 1971, 1971, by Keith Smith, American, b. 1938. Collage of electrostatic print (photocopy [3-M Color-in-Color]) transferred to manila paper; gold foil adhesive-backed star; multi-colored wool yarn and cotton thread; cut gelatin silver print; and rayon tassel fringe, machine and hand stitched to green cotton plain weave and gold rayon faille. Courtesy of Bruce Silverstein Gallery, New York. © Keith Smith.
    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.
  • Book Number 141, May 1989, by Keith Smith, American, b. 1938. Artist’s book with cut gelatin silver print, colored ink and watercolor washes, graphite, and machine stitching; folded, snake format. Philadelphia Museum of Art: Purchased with funds contributed by Richard L. and Ronay Menschel, Marion Miller, The Paul & Emily Singer Family Foundation, Peter C. Bunnell, and Trevor Drake and Anne Albright, and with the Lynne and Harold Honickman Fund for Photography, 2015-51-1. © Keith Smith.
    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.
  • Head Movements, November 1966, by Keith Smith, American, b. 1938. Photoetching. Courtesy of Richard and Ronay Menschel. © Keith Smith.
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  • Book Number 11, Up, 1969, by Keith Smith, American, b. 1938. Artist's book with ballpoint pen, graphite, and porous point (felt tip) pen on graph paper; film-positives; and collaged and cut gelatin silver prints. Courtesy of Bruce Silverstein Gallery, New York. © Keith Smith.
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Jean Shin: Collections
March 24 — July 15, 2018
Spain Gallery
Press Preview: Thursday, March 22

This is the first single-artist display of works by a contemporary female Korean-American artist at the Philadelphia Museum of Art. Born in South Korea, living and working in Brooklyn, New York, Jean Shin (b. 1971) is known for her massive installations built through the deconstruction and reconstruction of everyday objects.

Collections will feature Shin’s six large scale installations made of crowed-sourced materials that are reconstituted from donated clothing and apparel, such as shoes, sweaters, and uniforms, contributed by individuals. The installation reflects her powerful and multi-layered stories focusing on identity, society and community. Shin navigates conflicting ideas: individuality and communality; exclusion and inclusion, familiarity and unfamiliarity; and functional and nonfunctional through her works.

Central to the exhibition is the assemblage titled Unraveling (2006-09, to be updated 2018) which visualizes the web of interrelationships among members of the Asian-American arts community. Shin disassembles sweaters that have been donated by individuals who belong to such communities and then reassembles them into a dynamic installation that maps a dense social network. Each named sweater is deconstructed into the panels of front, back, and sleeves. A yarn unraveled and rolled on a spool then physically connects the sweaters of pre-identified acquaintances among the donors, creating intricate and tangible web of people’s network. The original core of Unraveling was created with sweaters collected from the New York City’s Asian-American art community in 2006. New additions augmented the work as it traveled to Houston, Washington DC, and other cities. In celebration of its debut in Philadelphia, sweaters collected from the city’s active and vibrant Asian-American art community will be featured as its newest addition.

Curator
Hyunsoo Woo, The Maxine and Howard Lewis Curator of Korean Art

Jean Shin Portrait by Daniel Terna.
Jean Shin Portrait by Daniel Terna.
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.

Modern Times: American Art 1910-1950
April 18 —September 3, 2018
Press Preview: Thursday, April 12

American artists in the first half of the twentieth century created a bold new artistic language to capture the essence of modern life. This wide-ranging exhibition reframes examples of American Modernism in the collection, with an emphasis on painting and sculpture, along with select examples of prints, drawings, photographs, decorative arts, and costumes. It features works by internationally acclaimed artists from the circle of the photographer and gallerist Alfred Stieglitz, such as Georgia O’Keeffe, Marsden Hartley, and Arthur Dove, along with equally significant if lesser-known artists who contributed to the art of their day.

The exhibition also explores modernity from a less formal angle, focusing on work by artists who were drawn to depict modern amusements and moments of daily life, from burlesque performances and beach scenes by Reginald Marsh and George Bellows to vignettes of people quietly occupying public spaces by Ben Shahn and Jacob Lawrence. The newest acquisitions to be included are two paintings by Horace Pippin and the singular work, Road and Trees by Edward Hopper. The Museum will publish a catalogue in conjunction with the exhibition, co-published by Yale University.

Curator
Jessica Todd Smith, The Susan Gray Detweiler Curator of American Art, and Manager, Center for American Art

This exhibition has been made possible by The Pew Charitable Trusts, The Mr. and Mrs. Raymond J. Horowitz Foundation for the Arts, The Annenberg Foundation Fund for Major Exhibitions, The Kathleen C. and John J.F. Sherrerd Fund for Exhibitions, The Jill and Sheldon Bonovitz Exhibition Fund, The Laura and William C. Buck Endowment for Exhibitions, Lyn M. Ross, and an anonymous donor.

Exhibition-related education programming was generously supported by the Center for American Art at the Philadelphia Museum of Art. Credits as of January 26, 2018.

  • Spring Sale at Bendel's, 1921, by Florine Stettheimer, American, 1871 – 1944. Oil on canvas, 50 x 40 inches (127 x 101.6 cm). Philadelphia Museum of Art: Gift of Miss Ettie Stettheimer
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  • Pertaining to Yachts and Yachting, 1922, by Charles Sheeler, American, 1883 – 1965. Oil on canvas, 20 x 24 1/16 inches (50.8 x 61.1 cm). Philadelphia Museum of Art: Bequest of Margaretta S. Hinchman, 1955-96-9. Copyright research inconclusive. Copyright may apply.
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  • Neighbors, 1951, by Charles Sheeler, American, 1883 – 1965. Oil on canvas, 18 x 15 inches (45.7 x 38.1 cm); Frame: 26 1/2 × 23 1/2 inches (67.3 × 59.7 cm). Philadelphia Museum of Art: Gift of C. K. Williams, II, 2015-8-2. Copyright research inconclusive. Copyright may apply.
    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.
  • Portrait of James Baldwin, 1945, by Beauford Delaney, American (active Paris), 1901 – 1979. Oil on canvas, 22 x 18 inches (55.9 x 45.7 cm). Philadelphia Museum of Art: 125th Anniversary Acquisition. Purchased with funds contributed by The Daniel W. Dietrich Foundation in memory of Joseph C. Bailey and with a grant from The Judith Rothschild Foundation, 1998-3-1. Copyright research inconclusive. Copyright may apply.
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  • View from Ship, c. 1932, by Jan Matulka, American (born Czech Republic), 1890 - 1972. Oil on canvas, 36 x 30 inches (91.4 x 76.2 cm). Philadelphia Museum of Art: Gift of C. K. Williams, II, 2015-8-1. © The Estate of Jan Matulka.
    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.
  • Something on the Eight Ball, 1953-1954, by Stuart Davis, American, 1892 - 1964. Oil on canvas, 56 × 45 inches (142.2 × 114.3 cm). Philadelphia Museum of Art: Purchased with the Adele Haas Turner and Beatrice Pastorius Turner Memorial Fund, 1954-30-1. © Estate of Stuart Davis / Licensed by VAGA, New York.
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  • Cover of the publication "Highlights from the Philadelphia Museum of Art: American Modernism"
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Now, She: Two Sculptures by Ursula von Rydingsvard
April 27, 2018 — April 2019
Anne d’Harnoncourt Sculpture Garden

The Museum will present two sculptures by Ursula von Rydingsvard, coinciding with a major exhibition at The Fabric Workshop and Museum, from April 27 to August 26, 2018.

The sculptures to be shown at the Philadelphia Museum of Art are Bronze Bowl with Lace (2013-2014, cast 2017-2018) and Elegantka II (2013-2014, cast 2016). Standing nearly 20 feet tall, overlooking the Schuylkill River, Bronze Bowl with Lace will be seen from multiple vantage points around the Museum’s exterior. Cast from a full-scale cedar model, the top of this monumental bronze is perforated and delicately lit from within with a soft amber light that at night slowly fuses with the sky. Elegantka II, a related work that will be situated on a mound near the entrance to the sculpture garden, is an exact urethane resin cast of another full-scale cedar model. The form spirals gently as it undulates and shifts from its narrow base through a rough knotty midsection and into its voluminous crown. Together these two majestic works exemplify the artist’s attention to scale, materials, and techniques, and embody the human emotions that inform her sculptures.

Ursula von Rydingsvard was born in Deensen, Germany and has lived and worked in New York since the 1970s. Her work has been broadly exhibited internationally and is represented in the collections of major museums including the Metropolitan Museum of Art, New York; the Museum of Fine Arts, Boston; the Museum of Modern Art; the National Gallery of Art; the San Francisco Museum of Modern Art; and the Walker Art Center, Minneapolis.

Ursula von Rydingsvard Bronze Bowl with Lace Production: 2013-14 Date of casting: 2015 Bronze 19.6 x 9.4 x 10 feet. Edition of 3. Photo by Jonty Wilde. Installation view: Yorkshire Sculpture Park, Wakefield, England © Ursula von Rydingsvard Courtesy Galerie Lelong & Co.
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.
Ursula von Rydingsvard Elegantka II Production: 2013-14 Date of casting: 2016 Urethane resin 10.5 x 3.8 x 3.8 feet (3.20 x 1.2 x 1.2 m) Edition of 3 + 1 AP Photo by Michael Bodycomb © Ursula von Rydingsvard Courtesy Galerie Lelong & Co.
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.

Agnes Martin
May 19 — August 2018
Gallery 174

Philadelphian Daniel W. Dietrich II played a crucial role as a patron of Agnes Martin throughout her career. This small-scale exhibition celebrates the recent Dietrich bequest of the artist’s paintings, works on paper and sculpture from the late collector.

The installation will explore ideas of perception and performativity that inform Martin’s art—as each of her works invite the viewer’s close, careful looking—while revealing the context in which these particular works were collected. Further highlighting the significance of patronage and Martin’s own artistic voice will be a case of ephemera, artist notes, and documentation related to Martin’s 1973 exhibition at the Institute of Contemporary Art in Philadelphia, which Dietrich supported.

Curators
Erica F. Battle, The John Alchin and Hal Marryatt Associate Curator of Contemporary Art
Olena Chervonik, The Daniel W. Dietrich II Fellow in Contemporary Art

  • Hill, 1967, by Agnes Martin, American (born Canada), 1912 - 2004. Acrylic and graphite on canvas, 6 feet × 6 feet (182.9 × 182.9 cm). Philadelphia Museum of Art: Bequest of Daniel W. Dietrich II, 2016-3-20. © Artists Rights Society (ARS), 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.
  • Play II, 1966, by Agnes Martin, American (born Canada), 1912 - 2004. Acrylic and graphite on canvas, 6 feet × 6 feet (182.9 × 182.9 cm). Philadelphia Museum of Art: Bequest of Daniel W. Dietrich II, 2016-3-22. © Artists Rights Society (ARS), 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.
  • Leaf, 1965, Agnes Martin, American (born Canada), 1912 - 2004. Acrylic and graphite on canvas, 6 feet × 6 feet (182.9 × 182.9 cm). Philadelphia Museum of Art: Bequest of Daniel W. Dietrich II, 2016-3-21. © Artists Rights Society (ARS), 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.
  • Untitled #6, 1985, by Agnes Martin, American (born Canada), 1912 - 2004. Acrylic and graphite on canvas, 6 feet × 6 feet (182.9 × 182.9 cm). Philadelphia Museum of Art: Bequest of Daniel W. Dietrich II, 2016-3-19. © Artists Rights Society (ARS), New York.
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  • The Rose, 1965, by Agnes Martin, American (born Canada), 1912 – 2004. Acrylic and graphite on canvas, 6 feet × 6 feet (182.9 × 182.9 cm). Philadelphia Museum of Art: Centennial gift of the Woodward Foundation, 1975-81-11. © Artists Rights Society (ARS), New York.
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Rachel Rose
May 2 — August 19, 2018
Press Preview: Tuesday, May 1

The recipient of the inaugural Future Fields Commission in Time-Based Media, Rachel Rose will premiere a new video installation at the Museum. Setting her upcoming project in sixteenth-century agrarian England, Rose explores the relationship between reality and perception, history and coincidence. The video’s first international presentation will follow at the Fondazione Sandretto Re Rebaudengo in Turin in winter 2018.

The Future Fields Commission in Time-Based Media supports the production and acquisition of a new video, film, sound, or performance work every two years. It is a joint initiative between the Philadelphia Museum of Art and Fondazione Sandretto Re Rebaudengo, Turin, Italy.

Rachel Rose (b. 1986) has emerged as an important voice in contemporary art. Her video installations grapple with the incessant exposure to images and information that form the heightened visual experience of our time. Bringing together wide-ranging subjects, Rose generates innovative networks of meaning through her deft, collage-like digital editing that has become her hallmark. Her installations combine video, sound, and architectural elements that together create a spatial and sensorial framework that amplify her core concepts. Rose obtained her MFA at Columbia University in 2013, and was the recipient of the Frieze Artist Award in 2015. She has had solo exhibitions at the Serpentine Galleries (London) and the Whitney Museum of American Art (both 2015). Her work is collected by prominent institutions such as the Los Angeles County Museum of Art; LUMA Foundation, Arles; Musée d’Art Moderne, Paris; Ishikawa Foundation, Japan; Tate, London; and the Whitney Museum of American Art, New York.

Curator
Erica F. Battle, The John Alchin and Hal Marryatt Associate Curator of Contemporary Art

Rachel Rose, (2017), Photo courtesy of the artist
Rachel Rose, (2017), Photo courtesy of the artist
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Face to Face: Portraits of Artists
June 26 — October 14, 2018
Dorrance Special Exhibition Galleries, first floor

This exhibition offers a sampling of the Museum’s extraordinary holdings of photographic portraits of artists, ranging from modern painters and sculptors to writers, actors, musicians and other singularly creative people. It revolves around two important groups in the collection: works from our first photography exhibition in 1943, Artists Look Like This, which paired portraits by Arnold Newman with art works by each of his subjects, such as Berenice Abbott, Jacob Lawrence and Piet Mondrian; and our extensive holdings of Carl Van Vechten photographs, comprising portraits of well-known figures in twentieth-century art, music, theater and literature from the 1930s until the 1960s. The Museum has perhaps the largest collection of Van Vechten photographs in the world, and it is virtually unknown to the public. It includes many portraits of Harlem Renaissance figures and other African-American artists that will be featured in this show, including rare photographs of the singers Bessie Smith and Ethel Waters, writers James Baldwin and Zora Neale Hurston, the sculptor Richmond Barthé and the painter Aaron Douglas.

The exhibition will also include a wide range of photographs up to the present day by outstanding portraitists such as Richard Avedon, Louis Draper, Lotte Jacobi, George Platt Lynes, Alice O’Malley, Irving Penn, and August Sander. In addition to individual portraits of some of the most fascinating people of the twentieth and twenty-first centuries, the installation will include groupings about five artists who were especially astute managers of their artistic personae through photographs: Thomas Eakins; the husband-and-wife duo Alfred Stieglitz and Georgia O’Keeffe; Marcel Duchamp; and Frida Kahlo.

Curator
Peter Barberie, The Brodsky Curator of Photographs, Alfred Stieglitz Center

Fabulous Fashion: From Dior’s New Look to Now
October 16, 2018 — March 3, 2019
Dorrance Special Exhibition Galleries, first floor

Over seven decades of style will be on view in High Fashion, an exhibition highlighting drama, glamour, and creativity through stunning examples of feminine fashion. The couture and ready-to-wear garments on view, complemented by displays of exceptional accessories, range in date from Christian Dior’s revolutionary “New Look” of 1947 to recent audacious ensembles by designer Bernhard Willhelm. The exhibition presents some of the most significant and visually compelling works in the Museum’s extensive costume collection, including many new acquisitions and other works that have rarely or never been exhibited.

Focusing on fashion as an art form, the exhibition is arranged thematically to offer stimulating comparisons across time. Sections showcasing the affinity of ensembles from different eras explore designers’ use of shape and volume, draping, color and pattern, embellishments, and more. Vibrant blocks of color, for example, are seen in both Issey Miyake’s 1994 “Flying Saucer” dress and a shift originally designed in 1952 by American artist Ellsworth Kelly that was reinterpreted in 2013 by Francesco Costa of Calvin Klein, while flamboyant patterns bedeck Emilio Pucci’s 1966 printed dress with matching tights and Christian Lacroix’s exuberant catsuit from 1990. The extraordinary designs on view also include masterworks by Pierre Cardin, Adrian, Cristóbal Balenciaga, Oscar de la Renta, Roberto Capucci, Geoffrey Beene, Madame Grès, Patrick Kelly, and many other fashion luminaries.

Curator
Kristina Haugland, The Le Vine Associate Curator of Costume and Textiles and Supervising Curator for the Study Room

Support
This exhibition has been made possible by The Annenberg Foundation Fund for Major Exhibitions, The Kathleen C. and John J.F. Sherrerd Fund for Exhibitions, The Women’s Committee of the Philadelphia Museum of Art, The Jill and Sheldon Bonovitz Exhibition Fund, Barbara B. and Theodore R. Aronson, Lyn M. Ross, and an anonymous donor.

  • Christian Dior Woman's Suit: Jacket, Skirt, Belt, and Camisole Fall/Winter 1998 Designed by John Galliano for Christian Dior. Pink wool twill, pink fur, brown leather, metal, faux pearls. Philadelphia Museum of Art: Gift of Martin Field.
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  • Designed by Geoffrey Beene Woman's "Mercury" Evening Dress Fall/Winter 1994-1995 Lamé velvet of metallic pile and acrylic twill ground. Philadelphia Museum of Art: Gift of Geoffrey Beene, 1997.
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  • Woman’s Evening Ensemble: Dress, Belt, and Capelet, 1983, designed by Pierre Cardin (Gift of Mrs. Jack M. Friedland [Annette Y. Friedland], 2009-181-29a–c)
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  • Designed by Vicky Tiel Woman's Dress 1989 Synthetic lamé Worn by Mrs. Martin Field, 1989 Philadelphia Museum of Art: Gift of Martin Field, 2014.
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  • Christian Dior Woman's Suit: Jacket, Skirt, Belt, and Camisole Fall/Winter 1998 Designed by John Galliano for Christian Dior. Pink wool twill, pink fur, brown leather, metal, faux pearls. Philadelphia Museum of Art: Gift of Martin Field.
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  • Designed by Geoffrey Beene Woman's "Mercury" Evening Dress Fall/Winter 1994-1995 Lamé velvet of metallic pile and acrylic twill ground. Philadelphia Museum of Art: Gift of Geoffrey Beene, 1997.
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  • Woman’s Evening Ensemble: Dress, Belt, and Capelet, 1983, designed by Pierre Cardin (Gift of Mrs. Jack M. Friedland [Annette Y. Friedland], 2009-181-29a–c)
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  • Designed by Vicky Tiel Woman's Dress 1989 Synthetic lamé Worn by Mrs. Martin Field, 1989 Philadelphia Museum of Art: Gift of Martin Field, 2014.
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The World of Victorian Fashion Dolls
November 11, 2018—February 3, 2019
Dorrance Special Exhibition Galleries, first floor

The Museum’s focus on fashion expands during the holiday season to include this exhibition of Victorian fashion dolls and their elaborate wardrobes. Made in France in the 1860s and 1870s, these exquisite dolls – about 18 inches tall, with painted bisque heads, leather bodies, and hair wigs – are furnished with miniature versions of the clothes and accessories worn by fashionable Victorian women. The dolls’ extensive wardrobes include outfits for every occasion along with undergarments, hats, gloves, shoes, jewelry, parasols, handbags, and an amazing array of meticulously crafted items, from a tiny toothbrush, sewing kit, and newspaper to roller skates and visiting cards for social calls.

The ultimate toy for privileged girls during the Gilded Age, these well-equipped fashion dolls were also models of ladylike perfection. While playing with them, their young owners could imagine their futures, learn the arts of beauty and dress, and practice accepted social conventions—important lessons in a period that believed a woman’s role was to please, adorn, and refine. This display of fashion dolls and their wardrobes, complemented by a few full-scale garments also from the Museum’s collection, offers an opportunity to experience the world of a Victorian woman through delightful miniature objects and to better understand the fashions and ideals of a bygone era.

Curator
Kristina Haugland, The Le Vine Associate Curator of Costume and Textiles and Supervising Curator for the Study Room

"Miss French Mary" Doll, 1875, Artist/maker unknown, Gift of Mrs. James Wilson Wister, née Elizabeth Bayard Dunn, 1970.
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"Miss Fanchon" Fashion Doll, late 1860s-1870s, Artist/maker unknown.
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Dieter Rams
November 2018
Collab Gallery

Dieter Rams will be the 32nd recipient of the Collab Design Excellence Award in November 2018. Born in Wiesbaden, Germany in 1932, Rams initially trained as an architect and interior designer, pausing to complete a carpentry apprenticeship before finishing his studies in 1953. In 1955, he began working for the electronics and consumer products manufacturer Braun as an architect and by 1961 was appointed Chief Design Officer, overseeing not only product design but every element of the company’s design identity. Over his 40-year-long career at Braun, he not only defined the iconic modern appearance of its products, he also developed a broader philosophy for rational, responsible, and enduring design that would resonate across the globe.

The exhibition will represent something of a return to Philadelphia for the designer. In 1983, he participated in the opening symposium for the Museum’s seminal exhibition Design since 1945, organized by Senior Curator Kathryn Hiesinger, and contributed an essay to the exhibition catalogue. When notified of his selection for the 2018 Design Excellence Award, Rams responded “It’s an honor for me to be in Philadelphia again, because I remember well the group exhibition in 1983.”

Curator
Colin Fanning, Project Assistant Curator

"Phonosuper" SK4 Phonograph and Radio
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Dieter Rams. Photograph. Courtesy of Dieter Rams studio, Frankfurt.
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Ongoing Exhibitions

Old Masters Now: Celebrating the Johnson Collection
Through February 19, 2018
Dorrance Galleries

This major exhibition focuses on one of the finest collections of European art to have been formed in the United States by a private collector. The exhibition presents about 90 out of the John G. Johnson Collection’s nearly 1,500 works, including early Italian and Renaissance paintings by such masters as Botticelli, Bosch, and Titian, important seventeenth-century Dutch and Flemish paintings including Rembrandt and Jan Steen, and others by the contemporary French masters of Johnson’s day, notably Édouard Manet, Claude Monet, and the Impressionists. The exhibition marks the centenary of Johnson’s gift of his collection to the city of Philadelphia and offers a close look at some works that curators and conservators have analyzed and cared for over the years, exploring issues of attribution and authenticity, and undertaking other forms of detective work to form a better understanding of Johnson’s collection.

Highlights of the exhibition include Édouard Manet’s The Battle of the U.S.S. “Kearsage” and the C.S.S. “Alabama,” 1864, and James Abbott McNeill Whistler’s Purple and Rose: The Lange Leizen of the Six Marks, 1864, as well as major works by Dutch and Netherlandish painters, including Judith Leyster’s The Last Drop, c. 1639, and Rogier van der Weyden’s The Crucifixion, with the Virgin and Saint John the Evangelist Mourning, c. 1460, and Italian paintings including Titian’s Portrait of Archbishop Filippo Archinto, 1558, and Masolino and Masaccio’s Saints Paul, Peter, John the Evangelist, and Martin of Tours, c. 1427–28.

In conjunction with the exhibition, the Museum is publishing a digital catalogue which includes thematic essays, archival resources, and detailed entries on about 70 artworks. The essays focus on the formation and stewardship of the collection. The catalogue will be widely available to researchers of all kinds, and free to access on February 1, 2018.

Curators
Jennifer Thompson, The Gloria and Jack Drosdick Curator of European Painting and Sculpture, and Curator of the John G. Johnson Collection; with Christopher Atkins, The Agnes and Jack Mulroney Associate Curator of European Painting and Sculpture, and Manager of Curatorial Digital Programs and Initiatives; Teresa Lignelli, The Aronson Senior Conservator of Paintings; and Mark S. Tucker, The Neubauer Family Director of Conservation

This exhibition has been made possible by The Annenberg Foundation Fund for Major Exhibitions, The Robert Montgomery Scott Endowment for Exhibitions, The Women’s Committee of the Philadelphia Museum of Art, the Kowitz Family Foundation, Friends of Heritage Preservation, Lawrence H. and Julie C. Berger, The Jill and Sheldon Bonovitz Exhibition Fund, The Gloria and Jack Drosdick Fund for Special Exhibitions, The Harriet and Ronald Lassin Fund for Special Exhibitions, The Robert Lehman Foundation, Lyn M. Ross, Saul Ewing Arnstein & Lehr LLP, and Joan F. Thalheimer. Support for the accompanying digital publication has been provided by Lois G. and Julian A. Brodsky, Martha Hamilton Morris and I. Wistar Morris III, an anonymous donor, and other generous individuals.

  • Saint Nicholas of Tolentino Saving a Shipwreck, 1457. Giovanni di Paolo (Giovanni di Paolo di Grazia), Italian (active Siena), first documented. Tempera and gold on panel with vertical grain, 20 1/2 x 16 5/8 inches. Philadelphia Museum of Art, John G. Johnson Collection, 1917.
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  • Marine, 1866. Gustave Courbet. Oil on canvas on gypsum board. Philadelphia Museum of Art, John G. Johnson Collection, 1917.
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  • Purple and Rose: The Lange Leizen of the Six Marks, 1864. James Abbott McNeill Whistler, American (active England). Oil on canvas, 36 3/4 x 24 1/8 inches. Philadelphia Museum of Art, John G. Johnson Collection, 1917.
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  • The Battle of the U.S.S. "Kearsarge" and the C.S.S. "Alabama", 1864. Édouard Manet, French. Oil on canvas, 54 1/4 x 50 3/4 inches. Philadelphia Museum of Art, John G. Johnson Collection, 1917.
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  • Interior of Saint Bavo, Haarlem, 1631. Pieter Jansz. Saenredam, Dutch (active Haarlem and Utrecht). Oil on panel, 32 5/8 x 43 1/2 inches. Philadelphia Museum of Art, John G. Johnson Collection, 1917.
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  • Portrait of a Young Gentleman, 1474. Antonello da Messina (Antonello di Giovanni di Michele de Antonio), Italian (active Messina, Naples, and Venice). Oil on panel, 12 5/8 x 10 11/16 inches. Philadelphia Museum of Art, John G. Johnson Collection, 1917.
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  • The Descent from the Cross, c. 1518 1520. Joos van Cleve, Netherlandish (active Antwerp and France). Oil on panel, 45 1/4 x 49 3/4 inches. Philadelphia Museum of Art, John G. Johnson Collection, 1917. Post-conservation image, 2017.
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  • Portrait of Archbishop Filippo Archinto, 1558. Titian. Oil on canvas. Philadelphia Museum of Art, John G. Johnson Collection, 1917. Post-conservation image, 2017
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  • On the Balcony, 1873. Mary Stevenson Cassatt, American, 1844 1926. Oil on canvas, 39 3/4 × 32 1/2 inches. Philadelphia Museum of Art, Gift of John G. Johnson for the W. P. Wilstach Collection, 1906.
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  • The Crucifixion, c. 1460. Rogier van der Weyden, Netherlandish (active Tournai and Brussels). Oil on panel, 71 x 36 7/16 inches. Philadelphia Museum of Art, John G. Johnson Collection, 1917.
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  • The Adoration of the Magi, Early 16th century. Hieronymus Bosch, Netherlandish (active Hertogenbosch). Oil on panel, 30 1/2 × 22 inches. Philadelphia Museum of Art, John G. Johnson Collection, 1917. Post-conservation image, 2015.
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Patricia Urquiola: Between Craft and Industry
Through March 18, 2018
Alter Gallery 176

The first US solo exhibition devoted to the work of this internationally acclaimed designer showcases her versatility in creating products, interiors, and architectural spaces. Among the seductive and cool works on view are objects like Urquiola’s Crinoline armchair, Chasen hanging lamp, and Openest, an innovative office system for Haworth that was awarded the Best of NeoCon Competition in 2014. Photographs included in the exhibition introduce visitors to Urquiola’s renowned architectural commissions including the award-winning Ideal House project shown in Cologne, Germany, and the Mandarin Oriental Hotel in Barcelona, Spain.

Urquiola is this year’s receipient of the Design Excellence Award from Collab, the Museum’s affiliate group for modern and contemporary design.

Curator
Donna Corbin, The Louis C. Madeira IV Associate Curator of European Decorative Arts

This exhibition is made possible by Lisa Roberts and David Seltzer. Additional support is provided by Collab—a group that supports the Museum’s modern and contemporary design collection and programs.

The Collab Design Excellence Award presented to Patricia Urquiola is generously sponsored by Publicis Health Media.

  • Installation view of the exhibition "Patricia Urquiola: Between Craft and Industry"
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  • Installation view of the exhibition "Patricia Urquiola: Between Craft and Industry"
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  • Installation view of the exhibition "Patricia Urquiola: Between Craft and Industry"
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  • Installation view of the exhibition "Patricia Urquiola: Between Craft and Industry"
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  • Installation view of the exhibition "Patricia Urquiola: Between Craft and Industry"
    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.
  • Installation view of the exhibition "Patricia Urquiola: Between Craft and Industry"
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  • Installation view of the exhibition "Patricia Urquiola: Between Craft and Industry"
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  • Installation view of the exhibition "Patricia Urquiola: Between Craft and Industry"
    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.
  • Installation view of the exhibition "Patricia Urquiola: Between Craft and Industry"
    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.
  • Installation view of the exhibition "Patricia Urquiola: Between Craft and Industry"
    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.
  • Installation view of the exhibition "Patricia Urquiola: Between Craft and Industry"
    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.

The Kiss
Through January 2019
Rodin Museum
2151 Benjamin Franklin Parkway

This latest reinstallation of artwork in the Rodin Museum examines the embracing couple and the kiss as reoccurring themes in Auguste Rodin’s work. Bringing together bronzes, plasters, marbles, and terracotta works made by Rodin over a thirty-year period, the display explores the ways in which the sculptor depicted passion. Newly included in the installation is The Waltz, by Camille Claudel (French, 1864–1943), which was cast in bronze around 1905, and is on loan from Iris Cantor.

Works such as The Minotaur, I Am Beautiful, Eternal Springtime, and Youth Triumphant demonstrate the variety of approaches, meanings, and allusions that Rodin brought to his figure groupings. In particular, Philadelphia’s copy of The Kiss, commissioned by Jules Mastbaum in 1926, is considered for its unique history and as an example of Rodin’s continuing appeal. As part of the reinstallation, other important Rodin sculptures, including The Thinker and the Monument to Balzac, are presented. This selection of works will be on view through 2019.

The Rodin Museum is one of the world’s most celebrated places in which to experience Rodin’s work. Open to the public in 1929, this remarkable ensemble of architecture, landscape, and sculpture, designed by architect Paul Cret and landscape architect Jacques Gréber, has been restored to its original splendor.

Curator
Jennifer Thompson, The Gloria and Jack Drosdick Curator of European Painting and Sculpture and Curator of the John G. Johnson Collection

  • Copy After The Kiss, by Auguste Rodin, on view at the Rodin Museum.
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  • Camille Claudel’s The Waltz with Rodin’s Copy After The Kiss on view at the Rodin Museum.
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  • Camille Claudel’s The Waltz with the marble after The Kiss on view at the Rodin Museum.
    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.
  • "The Kiss" at Rodin Museum. Damned Women, Modeled 1885; cast 1927. Auguste Rodin, French, 1840 1917. Plaster, 8 1/8 x 11 1/4 x 5 inches (20.6 x 28.6 x 12.7 cm). Philadelphia Museum of Art, Bequest of Jules E. Mastbaum, 1929.
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  • "The Kiss" at Rodin Museum. The Hand of God, Modeled 1898; cast 1925. Auguste Rodin, French, 1840 1917. Bronze, 26 3/4 x 17 1/2 x 21 1/2 inches (67.9 x 44.4 x 54.6 cm). Philadelphia Museum of Art, Bequest of Jules E. Mastbaum, 1929.
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South Asian Galleries
In a complete transformation of our renowned South Asian galleries, one of the world’s most significant collections of art from a vast area including India, Iran, Tibet, and parts of Southeast Asia is presented anew. Highlights include a stone temple hall from southern India, courtly Indian miniature paintings, ornate Buddhist works from Tibet and Nepal, colorful textiles, and lively temple sculptures. The galleries also feature significant physical improvements, such as state-of-the-art lighting, flooring, and casework that enhance the presentation of storied objects.

New works added to the collection include Shahzia Sikander’s video animation Disruption as Rapture (2016), which reimagines the Museum’s rare 1743 manuscript titled Gulshan-i-Ishq (Rose Garden of Love), and two large piccawai, or shrine hangings.

Curator
Darielle Mason, The Stella Kramrisch Curator of Indian and Himalayan Art

The reinstallation of the Museum’s galleries of South Asian Art was made possible by the Estate of Phyllis T. Ballinger, The Women’s Committee of the Philadelphia Museum of Art, Institute of Museum and Library Services, The Pew Center for Arts & Heritage, The Andrew W. Mellon Foundation, William Penn Foundation, Gupta Family Foundation Ujala, E. Rhodes and Leona B. Carpenter Foundation, and The McLean Contributionship. Generous donors to this initiative include Steve and Gretchen Burke, Sailesh and Manidipa Chowdhury, Mr. and Mrs. Donald Kimelman, Mr. and Mrs. Shantanu RoyChowdhury, Pamela and Ajay Raju, the Jones Wajahat Family, Paritosh M. and Srimati Chakrabarti, Drs. Julia A. and Eugene P. Ericksen, Ira Brind and Stacey Spector, Lyn M. Ross, Dennis Alter, Andrea Baldeck M.D., Tushar and Amrita Desai, Shanta Ghosh, David Haas, Dr. Krishna Lahiri, David and Jean Yost, and other generous donors. Additional support for the Museum’s building project is provided by Hersha, Shanta Ghosh, and Osagie and Losenge Imasogie. (Credits as of October 2016)

  • South Asian Galleries. Tara, Goddess of Compassion 18th - 19th century. Made in Dolon Nor, Duolun County, Chahar Province, Inner Mongolia, China. Gilded bronze. Gift of John T. Morris, 1911.
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  • Dancing Ganesha
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  • South Asian Art - Hall from Madanagopalaswamy Temple, Madurai, South India, c.1560. Granitic stone. Gift of Susan Pepper Gibson, Mary Gibson Henry and Henry C. Gibson in memory of Adeline Pepper Gibson. Young Girl’s Sari (on wall), 19th to mid-20th century. Purchased with funds contributed by the Young Friends of the Philadelphia Museum of Art and the Stella Kramrisch Fund for Indian and Himalayan Art, 2012. Poet-Saint Dedicated to the God Shiva, (foreground), c. 11th century or later. Gift of Mr. and Mrs. Elliott H. Eisman, 2014. Photo: Courtesy Philadelphia Museum of Art.
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  • South Asian Galleries. Indra, Lord of Storms and King of the Gods' Realm, c. 1200. Artist/maker unknown, Nepalese. Mercury gilded copper alloy with spinel rubies, rock crystal, and turquoise. Philadelphia Museum of Art, Stella Kramrisch Collection, 1994.
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  • South Asian Art - Dr. Stella Kramrisch at the Museum’s ‘Himalayan Art’ exhibition, 1978, Philadelphia Museum of Art Archives
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