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Upcoming Schedule of Exhibitions through Spring 2020

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

Gallery 119

This exhibition focuses largely on the sculpture and related drawings that Herbert Ferber (1906-1991) created during the 1950s that represent the artist’s most creative period. In these works, Ferber challenged traditional notions of sculpture and focused on line rather than mass, reflecting his artistic instinct that the future of sculpture lay as much in the shaping of space as it did in the shaping of form.

The tightly curated exhibition comprises 20 works, 9 sculptures and 11 drawings that range in date from 1947 to 1964. It begins with two sculptures and four related drawings from the late-1940s that underscore Ferber’s engagement with Surrealism and interest in the work of British sculptor Henry Moore. Ferber integrated form and space in sculptural works such as Sun Wheel, 1956, and The House (The Staircase), 1956. At the same time that his work was evolving in this direction, it was also becoming increasingly abstract in form and gestural in character, as seen in sculptures such as Roofed Sculpture with “S” Curve, 1954, and Heraldic, 1957. In the 1960s series, Homage to Piranesi, Ferber created a dynamic relationship between mass and void, intertwining forms and suspending them in space in a slender frame. For nearly a year, he stopped making sculpture and focused on his drawings to work out his sculptural ideas on paper; when he returned to working with metal, his forms were both looser and more abstract.

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, Form into Space takes 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 extraordinary ways in the decades 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

Herbert Ferber: Form into Space is generously supported by the Henry Moore Foundation.

Marisa Merz
Gallery 171
August 8, 2019–Summer 2020

This gallery will be dedicated to the work of Italian artist Marisa Merz, including a selection of sculptures and drawings that celebrate the breadth of the artist’s work across time.

Realized in collaboration with the Fondazione Merz 

Designs for Different Futures
October 22, 2019–March 8, 2020

Press Preview: October 17, 2019
Dorrance Special Exhibition Galleries, first floor

This October, the Philadelphia Museum of Art will premiere a major collaborative exhibition that focuses on the role of designers in shaping the world of our future. Tasked with problem-solving across multiple disciplines, designers address the values, behavior, needs, and wants of society, not only with physical products, but by creating services, organizational systems, human interactions, speculative propositions, and even virtual experiences. Designs for Different Futures includes imaginative design ideas and products that respond to human civilization’s future needs, desires, and fears, exploring such issues as human/digital interaction, climate change, political and social inequality, resource scarcity, transportation, and infrastructure. About 80 future-focused projects are orgazined loosely into subthemes – ideas such as Bodies, Foods, Generations, Data, Jobs, Materials, Power – constellations that reflect differently designed and multiple-answer futures.

Among the highlights is an inflatable pod, fifteen feet in diameter, that is part of the work Another Generosity first created in 2018 by Finnish architect Eero Lundén and designed in this incarnation in collaboration with Ron Aasholm and Carmen Lee; an affordable and accessible gene-editing kit, the CRISPR Kit; an audio-visual installation focusing on the gay dating app called Intimate Strangers by Andres Jacque’s; and Cricket Shelter, by Terreform ONE, a farm for edible crickets that anticipates an impending food crisis. Applied to a variety of social, cultural, ethical, political, and economic problems, designs chosen for the exhibition demonstrate that humanity has no single future, only multiple, heterogeneous, and sometimes contradictory trajectories.

The exhibition will also include a Futures Therapy Lab which will be a space for community meetups, public programs, school visits, and self-directed activities. Organized by the Philadelphia Museum of Art, the Walker Art Center, and the Art Institute of Chicago, Designs for Different Futures will travel to the Walker Art Center (September 12, 2020–January 3, 2021)

and the Art Institute of Chicago (February 6 –May 16, 2021.)

Philadelphia Museum of Art: October 22, 2019–March 8, 2020
Walker Art Center: September 12, 2020–January 3, 2021
Art Institute of Chicago: February 6–May 16, 2021

A publication accompanies the exhibition, and is centered on the innovative contemporary design objects, projects, and speculations of the exhibition’s checklist. It proposes design as a means through which to understand, question, and negotiate individual and collective futures, giving provocative voice to the most urgent issues of today and prompts readers to contemplate the design context within broader historical, social, political, and aesthetic spectrums. The primary authors are Kathryn B. Hiesinger, Michelle Millar Fisher, Emmet Byrne, Maite Borjabad López-Pastor, and Zoë Ryan, with Andrew Blauvelt, Colin Fanning, Orkan Telhan, Juliana Rowen Barton, and Maude de Schauensee. Additional essays are by V. Michael Bove Jr. and Nora Jackson, Christina Cogdell, Marina Gorbis, Srećko Horvat, Bruno Latour, Marisol LeBrón, Ezio Manzini, Chris Rapley, Danielle Wood, LinYee Yuan, and Emma Yann Zhang; and interviews with Gabriella Coleman, Formafantasma (Andrea Trimarchi and Simone Farresin), Aimi Hamraie and Jillian Mercado, Francis Kéré, David Kirby, Helen Kirkum, Alexandra Midal, Neri Oxman, and Eyal Weizman.

The publication Designs for Different Futures will be distributed by Yale University Press. The book was overseen by Philadelphia Museum of Art publishing director Katie Reilly and editors Katie Brennan and Kathleen Krattenmaker, and designed by Ryan Gerald Nelson at the Walker Art Center.

Curatorial Team
The curatorial team crosses disciplines and cultures, and is formed of, at the Philadelphia Museum of Art, Kathryn B. Hiesinger, The J. Mahlon Buck, Jr. Family Senior Curator of European Decorative Arts after 1700, and Michelle Millar Fisher, formerly The Louis C. Madeira IV Assistant Curator of European Decorative Arts after 1700; at the Walker Art Center, Emmet Byrne, Design Studio Director and Associate Curator of Design; and at the Art Institute of Chicago, Maite Borjabad López-Pastor, Neville Bryan Assistant Curator of Architecture and Design, and Zoë Ryan, the John H. Bryan Chair and Curator of Architecture and Design. Consulting curators are Andrew Blauvelt, Director, Cranbrook Art Museum, Bloomfield Hills, Michigan, and Curator-at-Large, Museum of Arts and Design, New York; Colin Fanning, Independent Scholar, Bard Graduate Center, New York; and Orkan Telhan, Associate Professor of Fine Arts (Emerging Design Practices), University of Pennsylvania School of Design, Philadelphia.

In Philadelphia, this exhibition is generously supported by the Annenberg Foundation Fund for Major Exhibitions, the Robert Montgomery Scott Endowment for Exhibitions, the Kathleen C. and John J.F. Sherrerd Fund for Exhibitions, the Lisa Roberts and David W. Seltzer Endowment Fund, the Women’s Committee of the Philadelphia Museum of Art, the Jill and Sheldon Bonovitz Exhibition Fund, and an anonymous donor.

Off the Wall: American Art to Wear
November 10, 2019–May 17, 2020

Press Preview: November 8, 2019
Perleman Building

With roots and connections in fine arts, fiber art, craft, performance and fashion, Art to Wear has been defined as many different things over the years. This major exhibition celebrates the art form as a uniquely distinctive American movement that emerged in the 1960s and 1970s and reached maturity in the 1980s and 1990s. It traces the influence of the first generation of pioneering artists who came of age during the turbulent ‘60s and early ‘70s, framing their work in the cultural, historical, and social concerns of their times. Focusing on the most iconic examples of Art to Wear from the period of 1967 through 1997, the exhibition features over one hundred one-of-a-kind works by more than fifty artists. Anchored by selections from the promised gift of gallery owner and collector Julie Schafler Dale, the exhibition is supplemented with works from the museum’s collection and loans to celebrate the creativity and ingenuity of the many artists that participated in the movement.

Pioneering artists of Art to Wear used nontraditional materials and techniques to create one-of-a-kind works of art for which the body served as an armature. Off the Wall: American Art to Wear features a wide range of techniques including free form crochet, hand knitting, machine knitting, macramé, leather work, beadwork, embroidery, applique, hand painting, and resist dye, among others. On view will be works by Claire Zeisler, Janet Lipkin, Anna VA Polesny, Nicki Hitz Edson, Jean Cacicedo, Susanna Lewis, Linda Mendelson, Dina Knapp, Marika Contompasis, and Tim Harding, to name a few.

The exhibition is accompanied by a new publication of the same name published by Yale University Press, co-authored by exhibition curators Dilys E. Blum, The Jack M. and Annette Y. Friedland Senior Curator of Costumes and Textiles at the Philadelphia Museum of Art, and independent textile scholar and curator Mary Schoeser, with a contribution written by Julie Schafler Dale. The volume provides the social, political, and cultural context for Art to Wear. ISBN 9780876332917.

Dilys Blum, The Jack M. and Annette Y. Friedland Senior Curator of Costume and Textiles and Mary Schoeser, Independent Textile Historian and Curator

This exhibition has been made possible by Julie Schafler Dale, PNC, the Arlin and Neysa Adams Endowment Fund, the Center for American Art at the Philadelphia Museum of Art, and other generous donors. Credits as of June 18, 2019.

Contemporary Gallery 176
Winter 2020–Fall 2020

Spanning six decades – from the 1960s to the present – the installation will include recent acquisitions and select loans to feature the work of artists born in South Asia, among them Tanya Goel (b. 1985, active in New Delhi) and Zarina Hashmi (b. 1937, active in New York), known professionally as simply Zarina , whose works offer an expanded notion of abstraction through an emphasis on the politics and poetics of the abstract line.

This presentation will be organized collaboratively between the Museum’s Contemporary and South Asian Art Departments.








"notation in x, y, z," by Tanya Goel, 2015. Graphite, pigment and oil on canvas, 84 x 108 inches. Image courtesy Galerie Mirchandani + Steinruecke.



Sean Scully: A Retrospective (working title)
May 19–August 9, 2020

Press Preview: May 14, 2020
Dorrance Special Exhibition Galleries, first floor

This major retrospective will feature Sean Scully’s most significant works from the 1970s to the present. It will closely examine his significant contribution to the history of abstract art and his mastery of technique by focusing on the various mediums, motifs and scales that have defined the artist’s practice over time. The exhibition will center on paintings and works on paper, including drawings, prints, and pastels, in order to demonstrate the integral relationships between works in various media, which are rarely exhibited together.

A new publication will accompany the exhibition, co-authored by exhibition curators Timothy Rub, the George D. Widener Director and CEO, and Amanda Sroka, Assistant Curator of Contemporary Art. It will be the first to examine thoroughly the breadth of Sean Scully’s work within a biographical context, exploring his life and art. Co-published by the Philadelphia Museum of Art and Yale University Press, the catalogue will present an in-depth account of Scully’s work, informed by extensive recent interviews with the artist and comprehensive art historical research.

An Irish-born American artist (b.1945), Scully is a painter, printmaker, sculptor and poet. He is the recipient of numerous awards, including the Peter Stuyvesant Foundation Prize, a National Endowment for the Arts Fellowship, a Guggenheim Fellowship, and the Harkness Fellowship, as well as a two-time Turner Prize nominee. Scully’s works are in numerous private and public collections, including the Philadelphia Museum of Art, the Modern Art Museum of Fort Worth, the Hirshhorn Museum and Sculpture Garden, and the Wadsworth Atheneum Museum of Art. In 2015, Scully participated in the Venice Biennale with his solo exhibition Land Sea at the Palazzo Falier. The upcoming retrospective will be the artist’s first of this scale in the United States since Sean Scully: Twenty Year, 1976-1995, which was presented in 1995 at the Hirshhorn Museum and Sculpture Garden in Washington, D.C. The artist divides his time between New York, England, and Germany.

Timothy Rub, The George D. Widener Director and Chief Executive Officer
Amanda Sroka, Assistant Curator of Contemporary Art

The exhibition will travel to the Modern Art Museum of Forth Worth from September 13, 2020, to January 3, 2021.

Ongoing Exhibitions

The Duchamp Family
Through August 11, 2019
Gallery 182

This special exhibition 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  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 brings together works from the museum’s 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 are included in a special exhibition organized by the Philadelphia Museum of Art and travelling 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 Phillip Berman Curator of Modern Art

The Impressionist’s Eye
Through August 18, 2019

Dorrance Special Exhibitions Galleries, first floor

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 90 Impressionist and Post-Impressionist paintings, drawings, watercolors, and sculptures by Manet, Degas, Monet, Pissarro, Sisley, Renoir, Morisot, Cassatt, Seurat, Cézanne, Van Gogh, Toulouse-Lautrec, Rodin, drawn from the collection is on view. The exhibition explores 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 is a close examination of Renoir’s “masterwork,” his Great Bathers, on the centenary of the artist’s death. Two astonishing 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 pulsing with life as gifts for friends. Pages from Cézanne’s sketchbooks, last displayed at the Museum in 1989, are on view.

This exhibition has been made possible by presenting sponsor Bank of America. Contributions to this exhibition 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, The Jill and Sheldon Bonovitz Fund for Exhibitions, and an anonymous donor.

Support for both The Impressionist’s Eye exhibition and the reinstallation of the galleries of nineteenth-century European painting has been generously provided by John and Gloria Drosdick, Joan F. Thalheimer, and Lois G. and Julian A. Brodsky.

Support for the reinstallation of the galleries of nineteenth-century European painting has been generously provided by Barbara B. and Theodore R. Aronson, Mr. and Mrs. Stewart A. Resnick, Harriet and Ron Lassin, Maxine de S. Lewis, Martha McGeary Snider, and other donors.

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

Yoshitoshi: Spirit and Spectacle
Through August 18, 2019

Dorrance Special Exhibition Galleries, first floor

Printmaker Tsukioka Yoshitoshi (1839 -1892) came of age as Japan opened to the West after two hundred years of isolation. Navigating cultural traditions and the upheavals of the modern world, he tackled 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 prints by Yoshitoshi which is the largest collection of his prints outside of Japan. Among the highlights are selections from the artist’s final project, and perhaps his best known series, One Hundred Aspects of the Moon, 1885-1992, 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, and theatre, as well as folklore.

The last time Yoshitoshi’s art was examined in depth at the museum was in 1993, and the only exhibition of his work in the US since that time was held at the USC Pacific Asia Museum in California in 2012. The museum owns more than 1,200 prints by Yoshitoshi.

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: Artists of the African American South
Through September 2, 2019

Levy and Spain Galleries, Perelman Building

This exhibition celebrates the museum’s recent acquisition of 24 works from the Souls Grown Deep Foundation, based in Atlanta, Georgia. This 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. The quilts reflect traditional patterns—like the Housetop, Flying Geese, and Work-Clothes—but their makers also invented unique stylistic variations.

John Vick, Collections Project Manager, with Akili Davis, Souls Grown Deep Foundation Intern

This exhibition has been made possible by PNC, with additional generous support from Emily and Mike Cavanagh, Mr. and Mrs. Albert F. Gordon, and Leslie Miller and Richard Worley.

The Art of Collage and Assemblage
Through September 2, 2019
Collab Gallery, Perelman Building

This exhibition provides an opportunity to spotlight some of the museum’s outstanding examples of works created using the related techniques of collage and assemblage, two artistic strategies invented in the early 20th century that have had a profound effect on the development of modern art.

The Art of Collage and Assemblage features sixty-three works, some by well-known artists and others who will be largely unfamiliar to visitors. It is organized by groups of works that share certain affinities, such as the Cubist style (Pablo Picasso, Georges Braque, Archipenko, Man Ray); collages incorporating cut, torn, or interwoven pieces of paper (Jean Arp, Romare Bearden, Ellsworth Kelly, Alvin Loving, Roni Horn); the use of images culled from popular publications like comic books, newspapers, or magazines (Jess, Ray Yoshida, Martin Ramírez, Felipe Jesús Consalvos); and the use of photographic techniques (Joseph Cornell, Lucas Samaras, Roy Lichtenstein, Robert Rauschenberg).

Ann Percy, The Mainwaring Curator of Drawings

Now, She: Two Sculptures by Ursula von Rydingsvard
Through April 2020

Anne d’Harnoncourt Sculpture Garden

Two monumental sculptures by Ursula von Rydingsvard, Bronze Bowl with Lace, and Elegantka II, are on view in the Anne d’Harnoncourt Sculpture Garden. These works are representative of the artist’s signature forms, scale, materials, and techniques, and convey a sense of deep emotion.

Bronze Bowl with Lace (2013-2014, cast 2017-2018) was cast from a full-scale cedar model. The top of the bronze is perforated and delicately lit from within with a soft amber light that lights with the evening sky. Elegantka II (2013-2014, cast 2016) is an exact urethane resin cast of another full-scale cedar model. The natural spiral form undulates and shifts from its narrow base through a knotty midsection and into its voluminous crown. It is situated on a mound near the entrance to the Sculpture Garden.

Ursula von Rydingsvard was born in Deensen, Germany and has lived and worked in New York since the 1970s. Her work has been 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. In 2015, Princeton University permanently installed her first monumental work in hand-pounded copper. She has been honored by the Skowhegan Medal for Sculpture, and has received three awards from the American section of the International Association of Art Critics, and the International Sculpture Center Lifetime Achievement Award. She is a member of the American Academy of Arts and Letters.

Alice Beamesderfer, the Pappas-Sarbanes Deputy Director for Collections and Programs

Rethinking the Modern Monument
Through December 2021

Rodin Museum, 2151 Benjamin Franklin Parkway

The exhibition explores Auguste Rodin’s legacy in public monuments. It focuses on major Rodin works throughout the museum and grounds, as well as modern sculpture from the collection to 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 in clay 1897; cast in bronze 1925) and Burghers of Calais (modeled 1884-1895; cast 1919-1921), 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 Eugéne Carriére (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, The Andrew W. Mellon - Anne d’Harnoncourt Postdoctoral Curatorial Fellow

New Galleries of Chinese Art
Main Building, Second Floor

The museum has recently unveiled 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 4000 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 that provide context for the collection and an exceptional immersive experience.

This renovation and reinstallation of the Chinese galleries is the next step 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 Dr. Hiromi Kinoshita, The Hannah L. and J. Welles Henderson Associate Curator of Chinese Art, who’s interpretive plan is arranged around key themes through which four thousand years of art can be understood.

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 day. It includes an introductory essay by Dr. 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.

South Asian Galleries
Main Building, Second Floor

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)