Lydia Seated in the Garden with a Dog on Her Lap, 1878–79. Oil on canvas, 10 3/4 × 16 in. (27.3 × 40.6 cm). Cathy Lasry, New York
Lydia Seated in the Garden with a Dog on Her Lap, 1878–79. Oil on canvas, 10 3/4 × 16 in. (27.3 × 40.6 cm). Cathy Lasry, 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.
31
January
2024
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09:57 AM
America/New_York

Upcoming Exhibitions Through Spring 2024

Spring Special Exhibition

Mary Cassatt at Work 
May 18 – September 8, 2024 
Press Preview: May 16, 2024 
Dorrance Galleries 
 
The Philadelphia Museum of Art is presenting celebrated artist Mary Cassatt’s first large-scale exhibition in the US in 25 years.  

Pennsylvania-born and a member of the French Impressionists, Cassatt was an artist who made the social, intellectual, and working lives of modern women a core subject of her prints, paintings, and pastels over the course of her six-decade career. She once wrote: “Oh the dignity of work, give me the chance of earning my own living, five francs a day and self-respect.”   

Mary Cassatt at Work spotlights over 130 of her works in various media, showing her evolving practice as an artist and demonstrating her commitment to depicting the lives of women. The exhibition features works from the museum’s extensive collection, including some of Cassatt’s most acclaimed paintings and prints, as well as loans from the Metropolitan Museum of Art, the Art Institute of Chicago, the Cleveland Museum of Art, the Virginia Museum of Fine Arts, and private collections. 

Following its run at the PMA, this exhibition will travel to the Fine Arts Museums of San Francisco. 

See full press release.

Support: 
Mary Cassatt at Work is made possible by the Kathleen C. and John J. F. Sherrerd Fund for Exhibitions; Lois G. and Julian A. Brodsky Installation and Exhibition Fund; Donna and Marvin Schwartz, with Waqas Wajahat, in honor of Timothy Rub; Gloria and Jack Drosdick Fund for Special Exhibitions; Harriet and Ronald Lassin Fund for Special Exhibitions; Laura and William C. Buck Endowment for Exhibitions; Jill and Sheldon Bonovitz Fund for Exhibitions; Mr. and Mrs. S. Matthews V. Hamilton, Jr.; The Leslie Miller and Richard Worley Foundation; Samuel Everett Snider; Robbi and Bruce Toll; an anonymous donor; and other generous donors.

Sponsored by:

athena

 

 

 

Funding for the catalogue is generously provided by the Wyeth Foundation for American Art and The Park Family.

Wyeth Foundation

 

 

 

Curators 
Jennifer Thompson, Gloria and Jack Drosdick Curator of European Painting and Sculpture and Curator of the John G. Johnson Collection  
Laurel Garber, Park Family Assistant Curator of Prints and Drawings 

  • A Goodnight Hug, 1880. Pastel on brown paper laid down on board, 16 9/16 x 24 3/4 in. (42 x 62.8 cm)
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  • The Bath, 1890–91. Color drypoint, aquatint and soft-ground etching from two plates, printed à la poupée, on ivory laid paper; plate 12 58 × 9 34 in. (32.1 × 24.7 cm); sheet 17 316 × 11 1316 in. (43.6 × 30 cm). Art Institute of Chicago Mr. and Mrs. Martin A. Ryerson Collection, 1932.1287
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  • The Visitor, c. 1881. Soft-ground, aquatint, etching, drypoint, and fabric texture, plate: 15 5/8 × 12 1/8 in. (39.7 × 30.8 cm), sheet: 20 1/2 × 15 3/4 in. (52.1 × 40 cm). Metropolitan Museum of Art, New York
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  • Driving, 1881. Oil on canvas, 35 5/16 × 51 3/8 in. (89.7 × 130.5 cm). Philadelphia Museum of Art: Purchased with the W. P. Wilstach Fund, W1921-1-1
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  • Lydia Seated in the Garden with a Dog on Her Lap, 1878–79. Oil on canvas, 10 3/4 × 16 in. (27.3 × 40.6 cm). Cathy Lasry, New York
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  • Woman at Her Toilette, c. 1891. Oil on canvas, approx. 30 x 25 in. (76.2 x 63.5 cm) Private Collection.
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  • Little Girl in a Blue Armchair, 1877–78. Oil on canvas, 35 1/4 × 51 1/8 in. (89.5 × 129.9 cm). National Gallery of Art, Washington, DC: Collection of Mr. and Mrs. Paul Mellon, 1983.1.18
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  • Maternal Caress, 1896. Oil on canvas, 15 × 21 1/4 in. (38.1 × 54 cm). Philadelphia Museum of Art: Bequest of Aaron E. Carpenter, 1970-75-2
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  • In the Loge, 1879. Pastel with gold metallic paint on canvas. Philadelphia Museum of Art, Gift of Mrs Sargent McKean, 1950-52-1
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Newly Opened and Upcoming Exhibitions

In the Right Place: Photographs by Barbara Crane, Melissa Shook, and Carol Taback 
January 27 – July 7, 2024 
Honickman Gallery 156 

Working in the latter half of the 20th century, the three photographers included in In the Right Place each forged an innovative and highly original approach to portrait-making. They worked in different cities—Barbara Crane in Chicago, Melissa Shook in New York, and Carol Taback in Philadelphia.  They also used different cameras and equipment and made radically different choices about who to photograph.

Yet, each elected to operate under similar self-imposed constraints, creating strict guidelines that dictated where they would photograph. Crane confined her working environment to a single doorway, Shook to her small New York tenement apartment, and Taback to a cramped photo booth.  

Despite, or perhaps because of, these rigid parameters, each photographer produced pictures that deftly call attention to the complexity of lived experience. Exploring these parallels and the artist’s individual proclivities, the show brings together three photographic series made in the 1970s: Crane’s People of the North Portal (1970–71), Shook’s Daily Self-Portraits (1972–73), and Taback’s Photo-Booth Strips (1978–80).  

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

  • Untitled, 1970-1971 (negative); c. 1971 (print), by Barbara Crane (American, 1928–2019), 2022-37-32
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  • March 27, 1973, 1973, by Melissa Shook (American, 1939–2020), 2023-54-4
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  • December 13, 1972, 1972, by Melissa Shook (American, 1939–2020), 2023-54-4
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  • People of the North Portal, 1970-1971 (negative and print), by Barbara Crane (American, 1928–2019), 2017-2-5
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  • Female with Towel, 1979-1980, by Carol Taback (American, 1941–1980), 1981-4-11
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  • George, 1979-1980, Carol Taback (American, 1941–1980), 1981-4-8
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Transformations: American Photographs from the 1970s 
January 27–July 7, 2024 
Honickman Gallery 157 

The 1970s were a turning point in the history of photography. While black-and-white darkroom photography was more popular than ever, and there was a renewed interest in photography’s history.  Younger artists felt constrained by the conservatism of earlier generations and began experimenting with approaches that defied established photographic practices, moving the medium in brand new, sometimes controversial directions. 

Transformations explores this energetic era through the lens of the Philadelphia Museum of Art’s collection. Highlights include images by William Eggleston and Joel Meyerowitz that recall the spontaneity, humor, or saturated color of vernacular snapshots; Mikki Ferrill and Susan Meiselas’s series of intimate portraits that forge connections between photography and the era’s growing social and political movements; and works by conceptual artists such as Martha Rosler, who interrogated photography’s association with advertising and systems of visual representation, even branching out to explore the new medium of video. 

Curator 
Molly Kalkstein, Horace W. Goldsmith Curatorial Fellow in Photography 

  • Untitled, 1975, by Mikki Ferrill (American, born 1937), 2021-47-4
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  • The Star Tease, 1975, Susan Meiselas (American, born 1948), 2023-57-1
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  • Lucy Watering at Night, 1973, Michael Jang (American, born 1951), 2022-113-1
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  • Photo-Transformation, September 19, 1976, 1976, by Lucas Samaras (American (born Greece), born 1936), 1977-123-1
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  • Untitled, 1973, by William Larson (American, 1942–2019), 2009-99-1
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Gee’s Bend Quilts from the Collection 
February 10 – July 7, 2024 
Morgan Galleries 150–151  

Quilting has long been a practical concern and communal activity in Gee’s Bend, a rural Black community in Alabama consisting of about seven hundred residents. Quilts were made to cover beds and floors and were used to keep drafts out when hung on walls. Quilters fit this work around the demands of everyday life while also finding connection through the act of making, and using the time to share in spiritual reflection and song. 

This installation features quotes from quilt makers and community members about the broader significance of these quilts. The thirteen quilts on view were acquired in 2017 from the Souls Grown Deep Foundation and were selected to tell the history of quilt-making in Gee’s Bend and nearby Rehoboth from the mid-1920s to 2005. 

Curator 
Dilys Blum, Jack M. and Annette Y. Friedland Senior Curator of Costume and Textiles 

  • Housetop Variation Quilt, 2003, Louisiana P. Bendolph, Pieced and hand-quilted cotton and cotton blend plain weave, 7 feet 2 1/2 inches × 67 inches (219.7 × 170.2 cm), Purchased with the Phoebe W. Haas Fund for Costume and Textiles, and gift of the Souls Grown Deep Foundation from the William S. Arnett Collection, 2017, 2017-229-2
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  • Housetop Variation Quilt, 1970-1979, Nellie Mae Abrams, Pieced cotton corduroy, 7 feet 10 inches × 6 feet 9 14 inches (238.8 × 206.4 cm), Purchased with the Phoebe W. Haas Fund for Costume and Textiles, and gift of the Souls Grown Deep Foundation from the William S. Arnett Collection, 2017, 2017-229-1
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  • Flying Geese Variation Quilt, c. 1935, Annie E. Pettway, Pieced cotton and wool, 7 feet 2 inches × 71 inches (218.4 × 180.3 cm), Purchased with the Phoebe W. Haas Fund for Costume and Textiles, and gift of the Souls Grown Deep Foundation from the William S. Arnett Collection, 2017, 2017-229-5
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  • Housetop Variation Quilt, 1920-1929, Henrietta Pettway, Pieced and hand-quilted printed and solid cotton plain weave, denim twill, corduroy, and sateen, 70 1/2 × 64 1/2 inches (179.1 × 163.8 cm), Purchased with the Phoebe W. Haas Fund for Costume and Textiles, and gift of the Souls Grown Deep Foundation from the William S. Arnett Collection, 2017, 2017-229-6
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  • String-pieced Blocks and Bars Quilt, c. 1965, Sue Willie Seltzer, Pieced cotton denim twill and plain weave, 7 feet 3 inches × 6 feet 4 inches (221 × 193 cm), Purchased with the Joseph E. Temple Fund, and gift of the Souls Grown Deep Foundation from the William S. Arnett Collection, 2017, 2017-229-9
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  • One Patch Quilt, c. 1950, Magdalene Wilson, Pieced solid and printed cotton plain weave, wool twill, wool and synthetic plain weave, printed cotton corduroy, and cotton seersucker, 6 feet 10 inches × 6 feet 2 inches (208.3 × 188 cm), Purchased with the Joseph E. Temple Fund, and gift of the Souls Grown Deep Foundation from the William S. Arnett Collection, 2017, 2017-229-13
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  • H Variation Quilt: "Milky Way," 1971, Nettie Young, Pieced solid and printed cotton and cotton blend plain weave, 7 feet 3 inches × 6 feet 2 inches (221 × 188 cm), Purchased with the Joseph E. Temple Fund, and gift of the Souls Grown Deep Foundation from the William S. Arnett Collection, 2017, 2017-229-14
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Jesse Krimes: Rikers Quilt 
March 23 – July 15, 2024 
Williams Forum  

The Philadelphia Museum of Art is proud to host the first institutional presentation of Jesse Krimes’s Rikers Quilt (2020), prominently presented in the Williams Forum.  

A Philadelphia-based artist and social justice activist, Krimes explores power, authority, systems, social hierarchies, norms, transgressions, and conventions of beauty in his work. Shortly after graduating from Millersville University in 2008, he was indicted by the US government and sentenced to a six-year term in federal prison. During his incarceration and in the years following, he has produced numerous bodies of work exploring his experiences and reflecting on contemporary society.  

Rikers Quilt is a monumental work created in response to abuses at Rikers Island Prison Complex, located in the Bronx, New York. Comprising bed sheet squares sourced from various prisons, the surface of the quilt presents a brightly colored tableau with multiple vignettes that show different aspects of Rikers, from its exterior to a cell, to renderings for a proposed redesign. Under the surface is a hidden layer that contains images of wounds resulting from abuse inflicted by guards and police; portions of the interior layer were revealed during a public activation in 2021, where participants were invited to make incisions in selected squares.  

The images on the 3,650 bedsheet squares—one for each day of harm inflicted at Rikers over the course of ten years—were created through an image-transfer technique utilizing hair gel that Krimes developed while incarcerated.  

Drawing inspiration from various American quilting traditions, including Alabama’s Gee’s Bend quilts, also in view at the PMA, Rikers Quilt serves as a conceptual and material reminder of the realities of the prison industrial complex. 

Curator
Katie Lee, Penn Medicine Assistant Curator
Elisabeth Agro, Nancy M. McNeil Curator of American Modern and Contemporary Crafts and Decorative Arts

New Installations and Rotations

Diana Scultori: An Engraver in Renaissance Rome 
January 26–July 29, 2024
Korman Galleries 221–223 

An Engraver in Renaissance Rome explores the creative practice of Diana Scultori (1547–1612), the first documented woman in Europe to have a professional career as a printmaker, and highlights her contributions to and position within the dynamic world of printmaking in late-1500s Rome. 

Born and raised in the city of Mantua, Italy, Scultori learned how to engrave from her artist father, Giovanni Battista Scultori. She relocated to Rome, where she enjoyed a flourishing printmaking career, engraving interpretations of paintings and drawings by other artists, including Giulio Romano, Domenico Ghirlandaio, and Correggio, among others.  

Scultori’s output largely consisted of Christian devotional imagery and depictions of ancient Greco-Roman statuary, history, and mythology. She adopted several strategies to ensure her professional success in the competitive print publishing industry, including securing a papal privilege—a type of license that would penalize copyists with excommunication.  

Curator 
Heather Hughes, Kathy and Ted Fernberger Associate Curator of Prints 

Diana Scultori, after Giulio Romano, Feast of the Gods (Marriage of Cupid and Psyche), 1575, Engraving on four sheets, 1985-52-1855a, b
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Diana Scultori, after Giulio Romano, Latona Gives Birth to Apollo and Diana on Delos, c. 1570, Engraving, 1985-52-1731
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Diana Scultori, after Giulio Romano, Menelaus Holding the Body of Patroclus, c. 1570, Engraving, 1985-52-1731
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Thomas Eakins: From Realism to Impressionism 
Opens February 2024  
Gallery 215 

In February, a gallery devoted to the work of Thomas Eakins will open with a display of paintings, sculptures, and photography from the museum’s collection of works by Thomas Eakins—the largest of its kind in the world. The inaugural exhibition celebrates Eakins as one of Philadelphia’s greatest artists, who devoted his career to the people and places of his hometown.

This new gallery also includes a section devoted to study materials that show Eakins at work: drawings, photographs, oil sketches, and sculptures reveal his dedication to the scientific and artistic study of the human body, and the thorough preparation that lay behind his realist art. Adjacent to the gallery will be Thomas Eakins’s iconic painting The Gross Clinic. 

Curators 
Kathleen Foster, Robert L. McNeil, Jr., Senior Curator of American Art, and Director, Center for American Art 

Sailboats Racing on the Delaware, 1874, by Thomas Eakins (American, 1844 – 1916), Oil on canvas, 24 x 36 inches (61 x 91.4 cm), Gift of Mrs. Thomas Eakins and Miss Mary Adeline Williams, 1929, 1929-184-28
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Between Rounds, 1898-1899, by Thomas Eakins (American, 1844 – 1916), Oil on canvas, 50 1/8 x 39 7/8 inches (127.3 x 101.3 cm), Gift of Mrs. Thomas Eakins and Miss Mary Adeline Williams, 1929, 1929-184-16
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The Pair-Oared Shell, 1872, by Thomas Eakins (American, 1844 – 1916), Oil on canvas , 24 x 36 inches (61 x 91.4 cm), Gift of Mrs. Thomas Eakins and Miss Mary Adeline Williams, 1929, 1929-184-35
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William Rush Carving His Allegorical Figure of the Schuylkill River, 1876-1877, by Thomas Eakins (American, 1844 – 1916), Oil on canvas (mounted on Masonite), 20 1/8 × 26 1/8 inches (51.1 × 66.4 cm), Gift of Mrs. Thomas Eakins and Miss Mary Adeline Williams, 1929, 1929-184-27
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Flowers of Evil: Shadows in the City of Light 
Opens March 16, 2024 
Gallery 256 

A presentation of prints and drawings, Flowers of Evil: Shadows in the City of Light probes the dark and sometimes haunting side of 19th-century art made in Paris—from depictions of gargoyles and sorcerers to shadowy cityscapes and nightmarish visions. It takes its title from a book of poems, Les Fleurs du mal, by the 19th-century writer Charles Baudelaire. First published in 1857, the poetry collection explores the alienation of the modern metropolis.  

Curators 
Louis Marchesano, Audrey and William H. Helfand Senior Curator of Prints, Drawings, and Photographs 
Laurel Garber, Park Family Assistant Curator of Prints and Drawings 

Dans les Cendres, 1887, Albert Besnard (French, 1849–1934), Etching, drypoint, and roulette with plate tone on Asian paper, Plate: 16 3/4 x 12 3/8 inches (42.5 x 31.4 cm) Sheet: 19 9/16 × 14 inches (49.7 × 35.6 cm), Bequest of Staunton B. Peck, 1950, 1950-103-11
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The Owl, A Few for the Few, 1883, Félix Hilaire Buhot (French, 1847–1898), Etching, drypoint, aquatint, roulette, soft ground, sandpaper ground, printed in brown and black inks on laid paper, Plate: 17 11/16 × 12 7/8 inches (44.9 × 32.7 cm) Sheet: 20 5/8 × 15 7/16 inches (52.4 × 39.2 cm), Purchased with the Leo Model Foundation Curatorial Discretionary Fund, 2020, 2020-95-1
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Le Stryge, 1853, Charles Meryon (French, 1821–1868), Etching, Plate: 6 3/4 x 5 1/8 inches (17.1 x 13 cm) Sheet: 11 3/4 × 9 3/8 inches (29.9 × 23.8 cm), Gift of the American Federation of Arts, 1943, 1943-56-43
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Mythical Creatures and Symbolic Animals in Medieval Art
April 6, 2024 
Gallery 307 

This installation offers visitors an opportunity to encounter mythological creatures and animals appearing in European works of art from the Middle Ages through to the early Renaissance.  

Curator 
Jack Hinton, Henry P. McIlhenny Curator of European Decorative Arts and Sculpture 

Agnolo Gaddi (Agnolo di Taddeo Gaddi) (Italian (active Florence), first documented 1369, died 1396), St. Sylvester and the Dragon, c.1380-85, Tempera and tooled gold on panel with horizontal grain, John G. Johnson Collection, 1917, cat. 9
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Chest (carved with a Monkey and a Donkey trapped in foliage), Flemish, 1400s, walnut with iron hardware, Purchased with Museum and Subscription Funds from the Charles F. Williams Collection, 1923-23-
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Dish with Chi Dragons, Yuan Dynasty (1271-1368) Made in Zhejiang province, China, Glazed stoneware with underglaze relief decoration (Longquan ware), Purchased with Museum funds, 1946-41-1
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Also On View

The Shape of Time: Korean Art After 1989 
Through February 11, 2024 
Dorrance Galleries, Williams Forum, Great Stair Hall & Toll Terrace 

Through the lens of 28 Korean artists, all born between 1960 and 1986, The Shape of Time: Korean Art after 1989 focuses on South Korea’s growing influence on the world stage and how the country continues to grapple with its past. 

Using a variety of mediums, including ceramics, painting, fiber, photography, lacquer, installation, metalwork, mixed media, embroidery, video, and performance, these artists explore themes like conformity, displacement, gender and sexuality, coexistence, and dissonance, making universal connections that offer a deeper understanding of South Korea, its history, and its culture. 

See full press release.

Support:
Major support for The Shape of Time: Korean Art after 1989 has been provided by The Pew Center for Arts & Heritage, with additional support from the Annenberg Foundation Fund for Major Exhibitions, the Robert Montgomery Scott Endowment for Exhibitions, E. Rhodes and Leona B. Carpenter Foundation, The Korea Foundation, The Andy Warhol Foundation for the Visual Arts, The Women’s Committee of the Philadelphia Museum of Art, Jung and Nelson Chai, The James and Agnes Kim Foundation, Sueyun and Gene Locks, Maxine de S. Lewis, The Chanil Foundation, an anonymous donor, Andrea Baldeck, M.D., the Jill and Sheldon Bonovitz Exhibition Fund, Lois G. and Julian A. Brodsky, Emily and Mike Cavanagh, Mr. and Mrs. S. Matthews V. Hamilton, Jr., Cynthia L. Johnson, The Jane and Leonard Korman Family Foundation, Constance and Sankey Williams, and other generous individuals.

In-kind support for Meekyoung Shin’s Eastern Deities Descended provided by Neutrogena®.

Support for the presentation of Do Ho Suh’s Seoul Home/Seoul Home/Kanazawa Home/Beijing Home/Pohang Home/Gwangju Home/Philadelphia Home provided by Lehmann Maupin.

Support for the accompanying publication has been provided by The Korea Foundation.

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Curators 
Elisabeth Agro, Nancy M. McNeil Curator for American Modern and Contemporary Crafts and Decorative Arts 
Hyunsoo Woo, Pappas-Sarbanes Deputy Director for Collections and Exhibitions 

  • Lights of Weolgok-dong, 2005, AHN Sekwon (b. 1968), Digital C-print, collection of the artist
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  • Disappearing Lights of Weolgok-dong I, 2006, AHN Sekwon (b. 1968), Digital C-print, collection of the artist
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  • From the series Left face, 2006–present, Heinkuhn OH (b. 1963), archival pigment print, collection of the artist
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  • What you see is the unseen / Chandeliers for Five Cities (detail), 2015, by Kyungah Ham (b. 1966), collection of the artists, photo by Kim Hyunsoo
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  • Eulji Theater, 2019, JUNG Yeondoo (b. 1969), solvent printing with LED lightbox, collection of the artist
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  • Portrait of the King, 2007–8 (detail), Donghyun SON (b. 1980), Ink and colors on paper mounted over wood panel, collection of the artist
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  • An Attack by Green Horns, 2009, Sang-hee YUN (b. 1978), Moksimjeopi, ottchil, wood, silver, gold plating, and gold leaf, collection of the artist
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  • A Dream of Iron (still), 2014, Kelvin Kyung Kun PARK (b. 1978), 3-channel 1080p HD Video, 2-channel audio, 13 minutes 11 seconds, collection of the artist
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Stephen Burks: Shelter in Place 
Through April 14, 2024
Gallery 219 

This exhibition surveys the past ten years of industrial designer Stephen Burks’s craft-centered, workshop-based design practice. Recipient of the 2023 Collab Design Excellence Award, Burks has forged a unique path by finding opportunities for innovation in the space between handcraft and industry, which has become a hallmark of his practice.  

Conceived during the COVID-19 pandemic, Stephen Burks: Shelter in Place attempts to address the question “How can we design our domestic interiors to enable joyful living while empowering our creativity?” and reflects a culmination of ten years of Burks’s work.  

See full press release.

Sponsors
Stephen Burks: Shelter in Place, the 2023 Collab Design Excellence Award exhibition, is made possible by The Lisa S. Roberts and David W. Seltzer Endowment Fund in Support of the Collab Design Excellence Award Exhibition. Additional support provided by Collab.

Curator
Alisa Chiles, Assistant Curator of Decorative Arts and Sculpture.

  • Stephen Burks with The Ancestors (Shelter in Place project), 2021, acrylic, epoxy resin, enamel, polystyrene foam, and clay-coated paper, designed by Stephen Burks (American, born 1969), manufactured by Stephen Burks Man Made, New York, established 1997, collection of the designer. Photo by Caroline Tompkins.
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  • Broom Thing Ambient Object, 2020, mixed materials, designed by Stephen Burks (American, born 1969), manufactured by Stephen Burks Man Made, Inc., (New York, established 1997) and Berea College Student Crafts (Kentucky, established 1855), courtesy of the artist and Berea College, Berea, Kentucky. Photo by Justin Skeens, 2022.
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  • Pixel Throw, 2020, bamboo, designed by Stephen Burks (American, born 1969), Stephen Burks Man Made, Inc, New York, established 1997, made by Berea College Student Craft, Berea College (Kentucky, established 1855), courtesy of Berea College Student Craft. Photo by Justin Skeens.
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  • Stephen Burks with Woven TV (Shelter in Place project), 2022, enamel, epoxy resin, LED, and polylactide (PLA), designed by Stephen Burks (American, born 1969), manufactured by Stephen Burks Man Made, New York, established 1997, collection of the designer. Photo by Caroline Tompkins.
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  • Spirit House (Shelter in Place project) (with personal artifacts), 2022, enamel, epoxy resin, LED, and polylactide (PLA), designed by Stephen Burks (American, born 1969), manufactured by Stephen Burks Man Made, New York, established 1997, collection of the designer. Photo by Caroline Tompkins.
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  • Grasso Vases, 2018, glazed ceramic, designed by Stephen Burks (American, born 1969), manufactured by BD Barcelona Design (Spain, established 1972), Courtesy of BD Barcelona Design. Photo by Joe Coscia.
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  • Friends and Neighbors Mirrors, 2021, recycled marble and glass, designed by Stephen Burks (American, born 1969), manufactured by Salvatori (Italy, established 1946), courtesy of Salvatori. Photo by Joe Coscia.
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  • The Others (Lanterns S, M, and Statue Lika), 2017, aluminum, polyethylene fiber, marble, acrylic, and LED solar panels, designed by Stephen Burks (American, born 1969), manufactured by DEDON (Germany, established 1990), High Museum of Art, Atlanta, gift of DEDON. Photo by Joe Coscia.
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  • The Spruce, 2021-2022, oak and aluminum, designed by Stephen Burks (American, born 1969), made by Berea College Student Craft, Berea College (Kentucky, established 1855), courtesy of Berea College Student Craft. Photo by Justin Skeens.
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  • Traveler Indoor Armchair with Hood, 2014, designed by Stephen Burks (American, born 1969), made for Roche Bobois (France, established 1960), epoxy-lacquered steel, leather cords, leather upholstery, and plume-feather fill, Philadelphia Museum of Art, gift of Roche Bobois, 2016. Photo courtesy of Philadelphia Museum of Art.
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  • Grasso Vases, 2018, glazed ceramic, designed by Stephen Burks (American, born 1969), manufactured by BD Barcelona Design (Spain, established 1972), Courtesy of BD Barcelona Design. Photo by Joe Coscia.
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El Origen de la Noche (The Origin of Night) 
Through May 12, 2024 
Gallery 276 

El Origen de la Noche (The Origin of Night) is an immersive sound installation by 4Direcciones Audiovisual (directed by Diana Rico and Richard Decaillet) working in collaboration with a group of traditional authorities from indigenous communities of the northwest Amazon, as well as anthropologists, musicians, and linguists. It is organized into eight sequential chapters that convey myth and ritual through narration, chants, music, and the sounds of nature. 

Originally commissioned by María Belén Sáez de Ibarra from the National University in Colombia, the work is an assemblage of both archival and new recordings from several indigenous nations in Colombia, all dealing with the Amazonian myth of the creation of night. The sound installation is structured like a “maloca,” a traditional social unit and communal hut integral to many communities of the Amazon.  

Support
El Origen de la Noche (The Origin of Night) has been made possible by the Daniel W. Dietrich II Fund for Excellence in Contemporary Art.

Curator
Carlos Basualdo, Marion Boulton “Kippy” Stroud Deputy Director and Chief Curator, with Alison Tufano, Collections Assistant, Contemporary Art 

Of God and Country: American Art from the Jill and Sheldon Bonovitz Collection 
Through July 7, 2024 
Korman Family Galleries 152, 153; and Field Galleries 154, 155 

This exhibition brings together twentieth century works from the Jill and Sheldon Bonovitz Collection that deal with themes of US history, the American landscape, religion, and mortality. The artists featured, who come from varied backgrounds and work in a range of styles and media, are often collectively labelled as “outsider” because they did not train in typical art schools, nor come up in the mainstream art world. In reality, however, far from being outsiders, these artists engaged quintessential aspects of the American experience in their work: spirituality, nationhood, the cultural and physical landscape, and America’s fraught history with race and racism. Together these works demonstrate an investment in American life and culture and an optimism about the future—in this life or the next. 

See full press release.

Support
This exhibition is made possible by Jill and Sheldon Bonovitz.

Curators
Louis Marchesano, Audrey and William H. Helfand Senior Curator of Prints, Drawings, and Photographs; Jessica Smith, Director of Curatorial Initiatives and Susan Gray Detweiler Curator of American Art; Jun P. Nakamura, former Suzanne Andree Curatorial Fellow; with contributions from Monique D’Almeida, Margaret R. Mainwaring Curatorial Fellow and Kendra Grimmett, former Carl Zigrosser Fellow. 

  • Mt Willow in Ozark Range, Jefferson City Missouri, Early to mid-20th century, Joseph Yoakum, Watercolor, pen, and ink on paper, Collection of Jill and Sheldon Bonovitz
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  • The Lamb and his Bride, 20th century, Sister Gertrude Morgan, Ink, acrylic, and crayon on repurposed Tide laundry detergent box, Collection of Jill and Sheldon Bonovitz
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  • Untitled, 20th century, Elijah Pierce, Paint, glitter, and varnish on carved wood, Collection of Jill and Sheldon Bonovitz
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  • Between Two Worlds, 20th century, Jon Serl, Oil on board, artist-made frame, Collection of Jill and Sheldon Bonovitz
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  • Cotton Kingdom,1987, Josephus Farmer, Paint and enamel on carved wood, Collection of Jill and Sheldon Bonovitz
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  • People and Time Come Together . . ., #16,977, 1990, Howard Finster, Paint on wood cutout, Collection of Jill and Sheldon Bonovitz
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Vincent Van Gogh’s Drawing for The Potato Eaters in Context 
Through March 10, 2024 
Gallery 256 

This installation brings together a seldom-seen sketch of Vincent van Gogh’s The Potato Eaters, a painting of a family of farmers seated around a table sharing a meal. Worked up over months of sketching and preparation, this was Van Gogh’s most ambitious painting to date, and a demonstration of his commitment to depicting country life without sentimentality. “I’ve become so absorbed in peasant life...” Van Gogh wrote to his brother, “I really hardly ever think of anything else.” 

In a period when forces such as industrial development and urban migration were reshaping the rhythms of the European countryside, a range of artists committed themselves to capturing time-honored ways of life—the exhibition also presents depictions of rural life and labor by Van Gogh’s heroes and contemporaries.  

Curators 
Laurel Garber, Park Family Assistant Curator of Prints and Drawings 
Tara Contractor, Assistant Curator of European Painting and Sculpture 

Rodin’s Hands 
Through January 5, 2025 
Rodin Museum 

“Rodin is the sculptor of hands—furious, clenched, rearing, damned hands” —French critic and poet Gustave Kahn

Auguste Rodin almost obsessively explored the expressive power of hands, using them to convey an infinite variety of emotions and experiences. This exhibition, on view at the Rodin Museum, highlights fifteen bronzes and plasters, many of them rare or unique to the Philadelphia collection.  

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

  • Hand of Rodin Holding a Torso, cast 1917, by Paul Cruet (French, 1880–1966), F1929-7-109
    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 Burghers of Calais, Modeled 1884-1895; cast 1919-1921, by Auguste Rodin (French, 1840–1917) Cast by the founder Alexis Rudier, Paris (1874–1952), F1929-7-129
    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 Hands, Modeled 1904; cast 1925, by Auguste Rodin (French, 1840–1917) Cast by the founder Alexis Rudier, Paris (1874–1952), F1929-7-20
    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 Helmet-Maker's Wife, Modeled 1884-1887; cast 1925, by Auguste Rodin (French, 1840–1917) Cast by the founder Alexis Rudier, Paris (1874–1952), F1929-7-26
    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 Secret, Modeled 1910; cast 1925, by Auguste Rodin (French, 1840–1917) Cast by the founder Alexis Rudier, Paris (1874–1952), F1929-7-52
    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.

Notes to Editors

About the Philadelphia Museum of Art:
The Philadelphia Museum of Art is a national and international destination for art, but first, we are Philadelphia’s Museum of Art—for all the many diverse communities of the city. Through our collections, exhibitions, events, educational activities, celebrations, and more, the PMA is a storyteller, and we welcome everyone to be part of the story—our doors are wide open. To learn more, visit www.philamuseum.org.

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