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Upcoming Schedule of Exhibitions through Winter 2019

Antony Gormley: STAND
January 24 – June 16, 2019
Press Preview: January 24, 2019
East Terrace

In January, the Museum will present STAND, an installation on the Museum’s East Terrace of ten cast iron ‘Blockwork’ sculptures by British sculptor Antony Gormley. These works, each about ten feet high, will be placed at intervals across the upper terrace where the viewer, work, and Museum share a common ground. In these metal bodies, Gormley has replaced anatomy with the language of architecture, using cantilevers, propping, and pier-and-lintel construction, the interplay of masses creating the balance of form and feeling. STAND offers an opportunity to reflect on our status as urban animals, our common ground with the artworks, and how context influences our thinking.

Born in London in 1950, Gormley studied anthropology and archaeology, and the history of art at Trinity College, Cambridge. He later studied at the Central School of Art, Goldsmiths College, and the Slade School of Art, and began to exhibit his work in the late 1970s. Gormley has had numerous solo exhibitions over the past 37 years, including Kettle’s Yard, Cambridge, England (2018); the Long Museum, Shanghai (2017); the National Portrait Gallery, London (2016); Forte di Belvedere, Florence, Italy (2015); Zentrum Paul Klee, Bern, Switzerland (2014); Centro Cultural Banco do Brasil, São Paulo (2012); Deichtorhallen, Hamburg, Germany; the State Hermitage Museum, Saint Petersburg, Russia (2011); Kunsthaus Bregenz, Austria (2010); Hayward Gallery, London (2007); Kunsthalle zu Kiel, Germany; Malmö Konsthall, Sweden (1993); and the Louisiana Museum of Modern Art, Humlebæk, Denmark (1989). He has also participated in major group shows such as the Venice Biennale (1982)and documenta 8, Kassel, Germany (1987). Major public works include Angel of the North (Gateshead, England), Another Place (Crosby Beach, England), Exposure (Lelystad, Netherlands), and Chord (Massachusetts Institute of Technology, Cambridge, Massachusetts).

Gormley won the Turner Prize in 1994 and has been a member of the Royal Academy of Arts since 2003. He was made an Officer of the British Empire in 1997 and knighted in 2014. Forthcoming projects this year include ESSERE at the Uffizi Gallery, Florence, which will run from February 26–May 26, 2019 as well as a major solo exhibition at the Royal Academy of Arts, London, in September 2019.

Timothy Rub, The George D. Widener Director and Chief Executive Officer, with Alice Beamesderfer, The Pappas-Sarbanes Deputy Director for Collections and Programs

Rethinking the Modern Monument
February 1, 2019 – December 2021
Press Preview: February 7, 2019
Rodin Museum, 2151 Benjamin Franklin Parkway

The Rodin Museum will close for the month of January and reopen in February with Rethinking the Modern Monument, an exhibition that explores Auguste Rodin’s legacy in public monuments. It will trace Rodin’s impact on monument design and modern sculpture. Revealing the controversial histories of Rodin’s commissions for public monuments across France in the early years of the French Third Republic (1870–1940), the exhibition probes questions that remain vital today: what is the proper function of the public monument, what should it look like, and who decides? Exploring Rodin’s history and models for monuments, Rethinking the Modern Monument sparks connections to the ongoing conversation about new approaches to American monuments today.

Key works include Rodin’s Balzac (modeled 1897, cast 1925) and Burghers of Calais (modeled 1884–95, cast 1919–21), Emmanuel Frémiet’s Joan of Arc (c. 1874), and Pablo Picasso’s Man with a Lamb (1943, cast between 1948 and 1950). Plaster casts of Rodin’s sculptures are included in the display, such as Study for a Monument (modeled mid-1890s, cast c. 1926) and Project for the “Monument to Eugène Carrière” (modeled 1912, cast 1926). Modern works drawn from the collection include figurative bronze sculptures by Barbara Hepworth, Jacques Lipchitz, Henri Matisse, Marino Marini, Chana Orloff, and Alberto Giacometti, among many others.

Alexander Kauffman, Andrew W. Mellon–Anne d’Harnoncourt Postdoctoral Curatorial Fellow

Re-opening of the Galleries of Chinese Art
February 3, 2019
Press Preview: January 31, 2019

The Museum is opening its newly renovated and reimagined galleries dedicated to Chinese art. The presentation showcases art in all media, including paintings, sculpture, porcelains, ceramics, carvings, metalwork, costume and textiles, furniture, and contemporary works.

The Philadelphia Museum of Art houses one of the country’s earliest Chinese art collections, initially established through purchases made at the Centennial International Exhibition held in Philadelphia in 1876. Today it includes more than 7,000 works in a wide range of media spanning more than 4,000 years. Strengths include Tang dynasty (618–907) tomb figures, Song dynasty (960–1127) ceramics as well as Ming (1368–1644) and Qing dynasty (1644–1911) imperial art and Buddhist sculpture. The collection includes more than 500 paintings, dating from the 12th to the 20th centuries, as well as costumes and textiles, furniture, jades, lacquer wares, and cloisonné. It also features three remarkable architectural interiors: an early 15th-century coffered ceiling from an imperial Buddhist temple, a 17th-century painted wood reception hall, and an 18th-century scholar’s study, which provide context for the collection and an exceptional immersive experience.

This renovation and reinstallation of the Chinese galleries is one in an ongoing series of reinstallations of the Museum’s collection that began with the Rodin Museum in 2012 and continued with the renovation of its galleries of South Asian art in 2016. The reinstallation is led by project director Hiromi Kinoshita, The Hannah L. and J. Welles Henderson Associate Curator of Chinese Art.

Coinciding with the reopening of its galleries of Chinese art, the Museum has published Chinese Art: Highlights from the Philadelphia Museum of Art, in association with Yale University Press (256 pp.) This illustrated book features highlights ranging from antiquity to the present. It includes an introductory essay by Kinoshita about the collection’s formation, illuminating its unique character and importance. The volume is available for purchase in the Museum Store or online via store.philamuseum.org.

Hiromi Kinoshita, The Hannah L. and J. Welles Henderson Associate Curator of Chinese Art

The reinstallation of the Museum’s galleries of Chinese Art was made possible by the E. Rhodes and Leona B. Carpenter Foundation Hannah L. Henderson, Marguerite Lenfest, Maxine de S. Lewis, June and Simon K.C. Li, Joan F. Thalheimer, Andrea Baldeck, M.D., Sueyun and Gene Locks, Peter A. Benoliel and Willo Carey, Barbara B. and Theodore R. Aronson, The Women’s Committee of the Philadelphia Museum of Art, Cynthia L. Johnson, Frank S. Bayley, Suzanne F. Boda and George W. Grindahl, Dr. Alan M. and Deena Gu Laties, Peggy Wachs, two anonymous donors, and other generous donors.

Long Light: Photographs by David Lebe
February 9 – May 5, 2019
Levy and Spain Galleries, Perelman Building

The Museum is presenting the first in-depth exploration of the art of photographer David Lebe (born 1948). In the 1970s and ‘80s Lebe was among the first generation of artists to frankly explore homoeroticism through their work. His gay sensibility informed his work, from street photos to male nudes and still life, as well as his exploration of phototgraphic processes including pinhole photography, extended exposures with “light writing,” photograms, and hand-coloring prints.

This exhibition presents his finest and most significant prints, many of which have been gifted by the artist to the Museum, including pictures from anti-war marches in the late 1960s, the gay March in Washington in 1987, and Lebe’s 1994 documentation of himself and his partner, Jack Potter, in their daily struggles with AIDS. Long Light: Photographs by David Lebe will be accompanied by the first publication to be devoted to the artist’s work. The publication features approximately 90 plates with an accompanying essay by Peter Barberie that examines the artist’s life and work within the context of the Philadelphia art scene and other contemporary gay and lesbian photographers. It is co-published by the Philadelphia Museum of Art and Yale University Press.

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

This exhibition has been made possible by Lynne and Harold Honickman, The Edna W. Andrade Fund of the Philadelphia Foundation, Barbara B. and Theodore R. Aronson, Emily and Mike Cavanagh, and Arthur M. Kaplan and R. Duane Perry. Credits as of November 16, 2018

Whitman, Alabama
February 23 – June 9, 2019

Gallery 119

The city of Philadelphia is celebrating Walt Whitman’s 200th birthday in 2019. As part of the city-wide project, titled Whitman 200: Art and Democracy, the Museum is screening Whitman, Alabama. This documentary directed by Jennifer Crandall presents a poetic portrait of American diversity through a series of short films of Alabama residents reading Whitman’s most famous poem, Song of Myself. For over two years, Crandall has traveled through Alabama, inviting people to share a part of themselves through the words of this epic 52- verse poem as a quintessential reflection of our American identities.

Whitman, Alabama is an experiment in using documentary and poetry to reveal the threads that tie us together. In addition to the film, this exhibition will include a selection of about 20 photographs drawn from the Museum’s collection which illustrate the American diversity Whitman and Crandall extol. Related programming includes poet and singer Patti Smith performing at the Museum on May 30, the day before Whitman’s 200th birthday.

Whitman 200 is spearheaded by the Kislak Center, University of Pennsylvania Library, and is being co-organized by Lynne Farrington, Senior Curator for Special Collections and Judith Tannenbaum, independent curator.

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

The Impressionist’s Eye
April 16 – August 18, 2019

Dorrance Special Exhibitions Galleries, first floor
Press Preview: April 11, 2019

Although they are regarded first and foremost as painters, the Impressionists were equally dedicated to making and exhibiting drawings, pastels, and sculptures. Over a quarter of the work exhibited in their group shows were on paper. The exhibition explores Impressionist paintings, watercolors, drawings, and sculptures together, demonstrating the versatility, experimentation, and innovation of these artists and the fluidity with which they moved from one medium to another.

Approximately 70 Impressionist and Post-Impressionist works by Manet, Degas, Monet, Pissarro, Sisley, Renoir, Morisot, Cassatt, Seurat, Cézanne, Van Gogh, Toulouse-Lautrec, Rodin, drawn largely from the collection will be on view. The exhibition will explore the perspective and originality that the Impressionists brought to landscapes, still lifes, portraits, nudes, and scenes of modern life. Cropping, unusual angles, flattened grounds, vibrant color, and vigorous brushwork are tools these artists used to add a startling modern angle to their painting and drawing.

Among the highlights will be a close examination of a major work by Renoirr wor his Large Bathers. Two drawings by Van Gogh—both from 1888 but worked in very different styles—demonstrate how he created large-scale drawings in an exaggerated “painterly” style for the art market or transformed his paintings into meticulous drawings as gifts for friends. Pages from Cézanne’s sketchbooks, last disdplayed at the Museum in 1989, will be on view.

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

This exhibition has been made possible by Presenting Sponsor Bank of America. Additional contributions have been made by The Robert Montgomery Scott Endowment for Exhibitions, The Laura and William C. Buck Endowment for Exhibitions, The Gloria and Jack Drosdick Fund for Special Exhibitions, The Harriet and Ronald Lassin Fund for Special Exhibitions, Lyn M. Ross, Joan F. Thalheimer, The Jill and Sheldon Bonovitz Fund for Exhibitions, and an anonymous donor.

Support for both the Impressionists Eye exhibition and the reinstallation of the galleries of 19th century painting has been generously provided by Lois G. and Julian A. Brodsky.

Yoshitoshi: Spirit and Spectacle
April 16–August 18, 2019
Dorrance Special Exhibition Galleries
Press Preview: April 11, 2019

Printmaker Tsukioka Yoshitoshi (1839–1892) came of age as Japan opened to the West after two hundred years of isolation. Navigating both cultural traditions and the upheavals of the modern world, he explored a wide range of themes: the heroism of samurai warriors, poetic images of figures in nature, female beauty, historic accounts, ghost stories, and the horrors of the battlefield.

Spirit and Spectacle showcases the Museum’s extraordinary collection of more than 1,200 prints by Yoshitoshi, the largest repository of his work outside his native Japan. Highlights include selections from the artist’s final project and perhaps best-known series, One Hundred Aspects of the Moon (1885–92), made near the end of his life. The range of characters portrayed in this suite of prints include stoic warriors and samurai, everyday townspeople, demons, and courtesans, all of which are drawn from stories relating to the moon, culled from Japanese and Chinese history, famous legends, literature, theatre, and folklore.The Museum’s prints by Yoshitoshi have not been shown in depth since 1993.

Shelley Langdale, The Park Family Associate Curator of Prints and Drawings

This exhibition has been made possible by The Jill and Sheldon Bonovitz Exhibition Fund.

Souls Grown Deep (working title)
June 8–September 2, 2019

Julien Levy and Joan Spain Galleries, Perelman Building
Press Preview: June 6, 2019

This exhibition will present for the first time the Museum’s 2017 acquisition of 24 works from the Souls Grown Deep Foundation, based in Atlanta, Georgia. The foundation is dedicated to documenting, preserving, exhibiting, and promoting the work of contemporary African American artists from the American South.

The acquisition includes nine assemblages by artists Thornton Dial, Lonnie Holley, Ronald Lockett, Hawkins Bolden, and Bessie Harvey. Representing an approach to art-making centered on found objects and everyday materials, these works range from modestly sized wall pieces to sculptures over 12 feet wide. The acquisition also includes 15 quilts made by several generations of women living in and around Gee’s Bend, Alabama, including inventive works by Mary Lee Bendolph, Delia Bennett, Nellie Mae Abrams, and Nettie Young, among many others. The quilts reflect traditional patterns—like Housetop, Flying Geese, and Work-Clothes—but their makers also invented unique stylistic variations.

John Vick, Collections Project Manager

This exhibition has been made possible by PNC, with additional generous support from Leslie Miller and Richard Worley.

Herbert Ferber: Form into Space
July 2, 2019 – January 5, 2020

This exhibition will focus largely on the sculpture and related drawings that sculptor Herbert Ferber created during the 1950s. In these works, he challenged traditional notions of sculpture, focusing on line rather than mass and the development of an increasingly abstract language of form that that was essentially gestural rather than descriptive in character. This new direction reflected Ferber’s belief that the future of sculpture lay as much in the shaping of space as it did in the shaping of form. By the end of this decade he would push his work towards an environmental scale and begin working of the series of sculptures for which he is perhaps best known, collectively titled Homage to Piranesi.

The exhibition comprises some 20 works, divided equally between drawings and sculptures and ranging in date from 1946 to 1964. It begins with two “open form” sculptures in bronze and a group of related drawings from the mid-1940s that reflect Ferber’s engagement with Surrealism and his efforts to deal with the influential work of the British sculptor Henry Moore. His interest in creating sculptures that were not monolithic in character, but rather sought to integrate form and space will be represented in works such as Green Sculpture II, 1954 (Albright-Knox Art Gallery) and Sun Wheel, 1956 (Whitney Museum of American Art). At the same time that Ferber’s work was evolving in this direction, it was also becoming increasingly abstract in form and gestural in character in sculptures such as Roofed Sculpture with “S” Curve, 1954 (Philadelphia Museum of Art) and Heraldic, 1957 (Williams College Museum of Art). These efforts culminated in the early 1960s in the Homage to Piranesi series, in which elegant, intertwining forms are held aloft, seemingly suspended in space, by a slender frame. Ferber’s drawings of this period, expressive works of art in their own right, served as an important means for the artist to visualize his ideas and will therefore serve as a wonderful visual counterpoint to the sculptures on display.

By the mid-1960s, at the very moment when Ferber’s work had achieved broad critical acclaim, the course of American sculpture changed radically with the emergence of Pop Art and Minimalism. Now, some fifty years later, it is appropriate to take another look at his sculpture and drawings of this period and to reassess the nature and scope of his achievements in a medium that evolved in new and truly significant ways in the decades immediately after World War II.

Timothy Rub, the George D. Widener Director and Chief Executive Officer, with Jessica Todd Smith, The Susan Gray Detweiler Curator of American Art, and Manager, Center for American Art


Off the Wall: American Art to Wear
November 2019- March 2020
Perleman Building

This exhibition will look at Art to Wear as a distinctive American movement with roots and connections in fine arts, fiber art, craft, performance and fashion. It examines in depth the first generation of pioneering artists who came of age during the turbulent 1960’s and early 70’s , framing their work in the cultural, historical, and social concerns of the times. Trained primarily in the fine arts as painters and sculptors these artists broke well-established boundaries in their use of nontraditional forms, materials, and techniques to create one of a kind works using the body as an armature. Although each artist’s career had a unique trajectory, as a group they were a significant albeit under recognized influence in the arts and were also influential teachers in art schools, colleges and universities.

The core of the exhibition are selections from the promised gift of 46 works from Julie Schafler Dale, owner of the premier gallery of art to wear Julie’s Artisan Gallery on Madison Avenue from 1973 to its closure in 2013. Her gallery showcased the best examples of the genre. Dale’s promised gift of works acquired for her personal collection will be supplemented with examples from Museum’s collection and loans from other museums, private collectors and the artists themselves.


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

Ongoing Exhibitions

Larry Fink: The Boxing Photographs
Through January 1, 2019
Julian Levy Gallery, Perelman Building

The Museum presents an inside look at the unsentimental world of boxing through the powerful photographs of Larry Fink. Widely recognized as one of the world’s greatest photographers, Fink captures the subculture of boxing through its champions and challengers, its gyms and rowdy rings and overheated atmospheres of locker rooms, as well as the countless coaches and nameless spectators. The Blue Horizon Gym, a legendary boxing gym in Philadelphia, which closed in 2010, is the subject of many photographs on view. The exhibition of about 90 works celebrates a major promised gift of the only complete set of Fink’s boxing photographs, including many that have never been published before.

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

Yael Bartana: And Europe Will Be Stunned
Through January 1, 2019
Joan Spain Gallery, Perelman Building

This is Bartana’s first presentation in Philadelphia of her film triology, And Europe Will Be Stunned (2007-2011). It will be accompanied by a public performance on Saturday, September 22 titled “Bury Our Weapons, Not Our Bodies!” that will challenge systems of violence and displacement through a symbolic burial and a call-to-action.

Exploring the complexity of Jewish-Polish identity through the lens of real and imagined histories, Bartana’s trilogy presents the radical “vision” of the Jewish Renaissance Movement in Poland (JRMiP), a fictional political movement created by the artist and Polish activist Sławomir Sierakowski that calls for the return of over three million Jews to their forgotten homeland of Poland. And Europe Will Be Stunned first debuted at the Polish pavilion of the 2011 Venice Biennale. It was acquired by the Museum in 2013.

Amanda Sroka, Assistant Curator of Contemporary Art

Major support for the exhibition Yael Bartana: And Europe Will Be Stunned and the site-specific performance Bury Our Weapons, Not Our Bodies! was provided by The Pew Center for Arts & Heritage, with additional generous contributions from the Philip and Muriel Berman Foundation, Lyn M. Ross, The Arlin and Neysa Adams Endowment Fund, and Jill and Sheldon Bonovitz.


Between Nature and Abstraction: Edwin Dickinson and Friends
Through February 10, 2019
Gallery 119

Edwin Dickinson’s inventive work sets him apart from any other American painter of the twentieth century. Drawing from nature, heroes like El Greco and Cézanne, and the many styles of modernism, Dickinson worked with a singular independence. See how he and contemporaries Edward Hopper, Willem de Kooning, and others followed their own stars and pursued idiosyncratic paths to modernism.

The exhibition has been made possible with funds provided by the Daniel W. Dietrich II Foundation.

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

Fabulous Fashion: From Dior’s New Look to Now
Through March 3, 2019
Dorrance Special Exhibition Galleries

Over seven decades of style will be on view in this 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, it 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.

H. 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, the Davenport Family Foundation, The Gloria and Jack Drosdick Fund for Special Exhibitions, Augusta Y. Leininger, Lyn M. Ross, and an anonymous donor. Additional support was provided by Annette Y. Friedland.

Little Ladies: Victorian Fashion Dolls and the Feminine Ideal
Through March 3, 2019
Dorrance Special Exhibition Galleries

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 in their time. 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 miniature objects and to consider the fashions and ideals of a bygone era.

H. 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 Jill and Sheldon Bonovitz Exhibition Fund.

Dieter Rams: Principled Design
Through April 14, 2019
Collab Gallery, Perelman Building

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.

Colin Fanning, Project Assistant Curator

Arte Povera: Homage to Amalfi ’68
Through July 7, 2019
Alter Gallery 176 and Gallery 179

Fifty years ago, a three-day exhibition and happening in Amalfi changed the course of contemporary art in Italy. Arte Povera reacted against the dominance of Minimalism and Pop Art and engaged in a type of guerrilla art-making emphasizing process and the use of humble, inexpensive materials. This installation pays tribute to that groundbreaking event and features a number of works originally exhibited in Amalfi.

Carlos Basualdo, the Keith L. and Katherine Sachs Senior Curator of Contemporary Art
Erica F. Battle, the John Alchin and Hal Marryatt Associate Curator of Contemporary Art

Arte Povera: Homage to Amalfi ’68 has been organized in memory of Marcello Rumma. It was made possible by Lia Rumma with additional funding from the Museum’s endowment, through The Daniel W. Dietrich II Fund for Excellence in Contemporary Art.

The Duchamp Family
Through August 2019
Gallery 182

This special installation highlights a family of twentieth-century artistic innovators. The brothers Jacques Villon, Raymond Duchamp-Villon, and Marcel Duchamp entered the public eye in 1911 as members of the Cubist group in Paris. Marcel soon decided to go his own way and became one of the most original and independent figures of his era. Their sister Suzanne Duchamp led an off-shoot of the avant-garde Dada movement alongside her husband, the Swiss-born painter Jean Crotti.

The Duchamp Family exhibition marks two anniversaries: fifty years since Marcel Duchamp’s death on October 2, 1968; and the centennial of the death of Raymond Duchamp-Villon in 1918, which cut short his groundbreaking work in Cubist sculpture. The exhibition will bring together works from the collection with the addition of a major work by Suzanne Duchamp on loan from a private collection.

Until August 2019, the majority of the Museum’s holdings of the work of Marcel Duchamp will travel in a special exhibition to the Tokyo National Museum in Japan; the Museum of Modern and Contemporary art in Seoul, South Korea; and the Art Gallery of New South Wales in Sydney, Australia.

Matthew Affron, The Muriel and Philip Berman Curator of Modern Art; and Alexander Kauffman, The Andrew W. Mellon–Anne d’Harnoncourt Postdoctoral Curatorial Fellow

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