New York City-based conceptual artist Fred Wilson is known for repurposing objects and artifacts to lead people to see them in a different way. His installations typically create new contexts for displaying art and artifacts found in museum collections—including wall labels, sound, lighting, spatial arrangements, and non-traditional pairings. The changes in context create changes in meaning, highlighting the politics of erasure and exclusion. Wilson’s creative process often involves community outreach and research in the cities where he produces his projects. He first became well-known in the early 1990s for his Mining the Museum at the Maryland Historical Society in Baltimore, which transformed the collection to highlight the history of slavery in America. Wilson has created site-specific installations in collaboration with museums and cultural institutions throughout North America, the Caribbean, Europe, the Middle East and Asia. In 2003, Wilson represented the United States at the 50th Venice Biennale with the solo exhibition Fred Wilson: Speak of Me as I Am. His many accolades include the prestigious John D. and Catherine T. MacArthur Foundation “Genius” Grant (1999), among others. Wilson is a contributor to Letting Go? Sharing Historical Authority in a User-Generated World, published by The Pew Center for Arts & Heritage in 2011.
The Michener Art Museum presents a series of lectures and gallery talks exploring the connections between Sheeler’s experimentations in fashion and the industrial paintings and photographs that established his career.
From its beginning in 1815 as the nation’s first major urban water supply system to its role today as an environmental education and outreach center, the Fund for the Water Works has been an innovator in clean water and environmental health.
The Village of Arts and Humanities supports the voices and aspirations of the community and inspires people to be agents of positive change through programs that encompass arts and culture, engage youth, revitalize community, preserve heritage, and respect the environment.
Licia Perea is the artistic director of Danzantes and has been awarded two choreographer’s fellowships from the National Endowment for the Arts.
Published in 2006, What Makes a Great Exhibition? is vital reading for arts professionals, art and curatorial studies students, art historians, practicing artists, and anyone curious about exhibition-making today.
During Dancing around the Bride’s run at the Philadelphia Museum of Art, the exhibition received a string of glowing reviews from the New York Times.
Kathleen McLean, principal of Independent Exhibitions, recently co-facilitated the Center’s project, No Idea Is Too Ridiculous, with Performa curator Mark Beasley.
Ronen Givony is the founder and artistic director of the Wordless Music Series and Orchestra, and the music director of SubCulture, both in New York City. He served as a Pew Fellowships panelist in 2011, and a Performance LOI panelist in 2015.
Zoe Strauss: Ten Years, at the Philadelphia Museum of Art, received media attention from a number of publications.
The Preservation Alliance of Greater Philadelphia worked with African-American historic churches and historic house museums to develop capacity at these often under-resourced sites.
This exhibition of contemporary art by seven artists serves as the complement to another exhibition of the library’s outstanding collection of Fraktur: Pennsylvania German folk artworks from the 18th and 19th centuries.
Mural Arts Program undertook planning for this community-based public art initiative that explores the complex and largely overlooked history of Philadelphia’s once-booming textile industry.