In fall 2012, Eungie Joo became the director of art and cultural programs at Instituto Inhotim in Brumadinho, Brazil, a contemporary art complex where industrialist Bernardo Paz shows works from his own collection and regularly commissions major site-specific pieces. The New York Times has described it as “a vast garden of art in the hills of Brazil.” From 2007–12, Joo was the Keith Haring Director and Curator of Education and Public Programs at the New Museum, New York. There she organized the 2011 triennial The Ungovernables, which presented international contemporary art to North American audiences, and she spearheaded the Museum as Hub, an experimental art initiative that forged international museum partnerships to explore artistic, curatorial and institutional practice.
Before the New Museum, Joo was director and curator at Redcat in Los Angeles from 2003 to 2007. She served as an advisor on the 2008 Carnegie International and received the Walter Hopps Award for Curatorial Achievement in 2006. Joo served as a Pew Fellowships panelist at the Center in 2006 and she participated in a Center roundtable discussion in February 2011 with Pablo Helguera, director of adult and academic programs in the department of education at the Museum of Modern Art in New York. Recently she was named as the curator of Sharjah Biennial 12, opening in March 2015.
This is Nigerian-born, London-based Yinka Shonibare’s first major Philadelphia exhibition since his artist residency at the Fabric Workshop and Museum in 2004.
Hilary Harp is a sculptor and installation artist, and a 1995 Pew Fellow.
One of the first venues in the United States dedicated to the appreciation of limited edition prints, the Print Center has expanded its purview to include photography and ephemera.
The Happy Show, presented at the Institute of Contemporary Art, focused on Stefan Sagmeister’s 10-year exploration of happiness and was conceived as a series of interactive investigations on the subject.
This nationally touring exhibition, presented at Vox Populi in spring 2014, is the first to critically examine the lasting impact that the Riot Grrrl movement has had on artists today.
Built in 1836, Laurel Hill was one of the country’s first rural cemeteries. In the 21st century, the cemetery attracts visitors to musical programs, tours, photography programs, and more.
Opera Philadelphia conducted in-depth, strategic audience research that informs the development of a set of programs that, together with enhanced marketing efforts, respond to new audience behaviors and preferences.
The City of Philadelphia’s Office of Arts, Culture and the Creative Economy manages the largest and oldest public art program in the country, while The Mayor’s Fund for Philadelphia seeks to improve quality of life for all Philadelphians by facilitating collaborations between the city’s public, private, and non-profit sectors.
In her concluding address as the Center’s visiting scholar, Kristy Edmunds discussed the importance of providing a platform for national and international artists alongside local artists.
Pew Fellow Teresa Jaynes hosts a discussion about her artistic and curatorial process, in conjunction with the exhibition Common Touch.
An actor, director, stage designer, and playwright, Thaddeus Phillips “creates visual spectacles that take audiences to new frontiers.”
Kelly Kivland is an Assistant Curator at Dia Art Foundation, where she has been involved with exhibition and performance programs.