23:00 PM

Upcoming Schedule of Exhibitions through Spring 2020

Sean Scully: The Shape of Ideas
Dorrance Special Exhibition Galleries, second floor

The museum is currently closed. New exhibition dates to be announced.

This major retrospective will feature Sean Scully’s most significant works from the 1970s to the present. It will closely examine his 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, drawings, prints, and pastels, demonstrating 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.

Scully (American, born Ireland) 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.

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 Gloria and Jack Drosdick Fund for Special Exhibitions and the Jill and Sheldon Bonovitz Exhibition Fund. Credits as of July 8, 2019

Ongoing Exhibitions

Fault Lines: Contemporary Abstraction by Artists from South Asia
Alter Gallery, second floor

The museum is currently closed. New exhibition closing dates to be announced.

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 is organized collaboratively between the museum’s Contemporary and South Asian Art departments.

Amanda Sroka, Assistant Curator of Contemporary Art

This exhibition has been made possible with support from the museum’s endowment, through the Daniel W. Dietrich II Fund for Excellence in Contemporary Art.

Now, She: Two Sculptures by Ursula von Rydingsvard
Anne d’Harnoncourt Sculpture Garden

The museum is currently closed. New exhibition closing dates to be announced.

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

Marisa Merz
Gallery 271

The museum is currently closed. New exhibition closing dates to be announced.

This installation celebrates the life and legacy of pioneering Italian artist Marisa Merz (1926–2019). Occupying a unique and pivotal position in postwar European art, Merz’s work combines a keen attention to materials with a deeply personal symbolism.

Coming of age in Italy in the turbulence of the 1960s, she is the sole female artist affiliated with Arte Povera—a term coined in 1967 to describe a group of artists whose work emphasized process and the use of unconventional materials in an attempt to connect art and life.

Imbuing the ordinary with redemptive and revelatory qualities, Merz’s sculptures, paintings, and drawings employ malleable materials like copper wire, wax, and unfired clay. As these elements are knotted, woven, and recombined—techniques often linked to craft and female labor—she insistently subverts antiquated stereotypes of the feminine and the maternal through the incorporation of heavy metals and industrial paints.

For many years Merz refrained from both dating her artwork and presenting it in traditional exhibition settings. This selective participation in the larger art system stemmed from her conception of art as inseparable from and entwined with daily life. Equally inspired by Byzantine religious icons, Renaissance painting, and domestic interactions with her husband, Mario Merz, and daughter, Beatrice, her work reflects an ongoing exploration of the tensions between the private and the public, the spiritual and the profane.

This gallery features a number of the artist’s recurring visual motifs, such as the female head, the flowing fountain, and musical instruments whose sounds are heard only in the viewer’s mind. With their delicate and textured surfaces, Merz’s works beckon us into a cosmos all her own.

In Memoriam

Marisa Merz was organized in collaboration with the Fondazione Merz, Turin. It has been madepossible with support from the museum’s endowment, through the Daniel W. Dietrich II Fundfor Excellence in Contemporary Art.

Rethinking the Modern Monument
Rodin Museum, 2151 Benjamin Franklin Parkway

The museum is currently closed. New exhibition closing dates to be announced.

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 is currently closed.

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.

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

South Asian Galleries
Main Building, Second Floor

The museum is currently closed.

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)