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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.

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

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.

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

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.

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

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.

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.

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.

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.

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

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.

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

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.

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.

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

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.

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.

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

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.”

Colin Fanning, Project Assistant Curator

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.

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.

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.

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.

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 MinotaurI Am BeautifulEternal 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.

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

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.

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)

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