A number of Center-supported projects and two Pew Fellows have been included in fall season highlights from The New York Times and The Philadelphia Inquirer.
The New York Times’ New Season preview included Temple Contemporary’s reFORM, a project that commissioned MacArthur and Pew Fellow Pepón Osorio to create a new installation that responds to recent Philadelphia school closings. “[Osorio] worked with teachers, students, parents and neighbors to gather chairs, desks and chalkboards for an ongoing ‘reactivated’ school that also functions as a participatory art installation,” wrote Martha Schwendener. The project was also a pick in The Philadelphia Inquirer’s fall arts guide, where Edith Newhall included it among the “22 local gallery exhibitions to feast your eyes on.”
Also included in The New York Times was Barbara Kasten: Stages, the first major survey of the Chicago-based artist’s work, presented by the Institute of Contemporary Art with Center support and traveling to the Graham Foundation this fall. Kasten’s “photographs and videos are based on architectural models she builds and photographs in her studio,” Schwendener noted.
Pew Fellow Alex Da Corte’s spring 2016 exhibition, Free Roses, at Mass MoCA also made the list. “The centerpiece of this extravaganza of consumer-inspired psychedelic art is an installation inspired by Arthur Rimbaud’s dystopic poem ‘A Season in Hell,’” wrote Schwendener for The Times.
The Center-funded Trisha Brown: In the New Body presented by Bryn Mawr College, with performances beginning October 18, was highlighted by both The Times and The Philadelphia Inquirer. “This nine-month series in Philadelphia…chronicles Ms. Brown’s groundbreaking career, from her redefinition of dance in the 1960s to her 21st-century inventions,” wrote The Times’ Siobhan Burke.
Also included in The Inquirer’s arts guide was Strange Currencies: Art & Action in Mexico City, 1990-2000, presented by the Galleries at Moore College of Art and Design with Center support. “Artists who lived and worked in Mexico City in the 1990s had much to mull—an economic crisis, increasing violence and poverty, and widespread political corruption—and the unorthodox, action-based works they produced were a direct reflection of that upheaval,” Edith Newhall wrote for The Inquirer.
The Philadelphia Inquirer’s Toby Zinman highlighted Theatre Exile’s production of Rizzo in her list of “21 theater performances to feed your inner thespian,” writing that the project “dramatizes Philly’s most controversial top cop, the larger-than-life Frank Rizzo, as he prepares for his 1991 mayoral campaign.” The development of Rizzo was supported by a Center planning grant.
“My thinking as a curator has been informed by ‘other lives’ that I’ve been fortunate to live and I continue to think about exhibitions from the perspective of what’s new that can be brought to the table.”
Pam Green is the founder and president of PMG Arts Management, which provides services to performing artists, companies, and organizations throughout the country.
An intimate discussion on how artists across the country are spearheading creative neighborhood redevelopment with their local community.
Mark Allen is founder and executive director of Machine Project, a multidisciplinary neighborhood arts collaborative in Los Angeles.
In an essay excerpt accompanying a series of programs related to the performances of After the Rehearsal/Persona, theater editor and critic Tom Sellar describes Ivo van Hove’s affinity for complex characters, his commitment to text, and his ability to transcend traditional disciplines.
As part of its exhibition Charles Sheeler: Fashion, Photography, and Sculptural Form, the James A. Michener Art Museum presents a series of films from the 1920s.
Sheila Hicks: 50 Years, on view at the Institute of Contemporary Art in 2011, received media attention from the New York Times and Artforum.
Peter Rose is a multimedia artist and a 1997 Pew Fellow.
The Philadelphia Museum of Art presented the first full-scale exhibition of the artist’s work in more than 30 years.
Dance ethnologist and anthropologist Toni Shapiro-Phim traces the legacy of Cambodian dancer and teacher Pen Sokhuon against a backdrop of historical and political changes in Cambodia.
Integrating contemporary art within the Mütter Museum’s approach to medical humanities interpretation, an exhibition plan will be developed to focus on the centennial of Philadelphia’s influenza pandemic.
Ellen McLaughlin’s adaptation of the ancient Greek tragedy by Aeschylus included original music by sound designer Daniel Kluger.