“I’m really interested in how personality is replacing gender in how people are defined.”
Ryan Trecartin (b. 1981) is an innovative video artist who creates phantasmagorical media installations that explore contemporary issues and concerns, often in collaboration with artist Lizzie Fitch. Their tour-de-force seven-part suite, Any Ever (2009–10) was shown via an international tour that began at the Power Plant in Toronto, Canada in March 2010 and continued on to the Museum of Contemporary Art, Los Angeles, CA; the Museum of Contemporary Art, North Miami, FL; MoMA PS1, Long Island City, NY, and the Musee d’Art Moderne de la Ville de Paris, France. Any Ever was reviewed extensively in publications ranging from the Wall Street Journal to The Daily Beast. Peter Schjeldahl of The New Yorker wrote that Any Ever was an “exhilarating onslaught, loaded with bizarre charm, of fast, noisy, animation-enhances performances” and that Trecartin is “the most consequential artist to have emerged since the 1980s, when Jeff Koons inaugurated an era of baleful glitz.”
Trecartin’s work has been exhibited widely, including venues such as Elizabeth Dee Gallery, New York; Hammer Museum, Los Angeles, CA; Wexner Center for the Arts, Columbus, OH; and QED, Los Angeles, CA. His recent group exhibitions include Louis Vuitton: A Passion for Creation, Hong Kong Museum of Art, China; The Generational: Younger than Jesus, the New Museum, New York; Installations II: Video from the Guggenheim Collections, Guggenheim Museum, Bilbao, Spain; Busan Biennale, Busan, South Korea; The Left Hand of Darkness, The Project, New York; USA Today, Works from the Saatchi Collection, Royal Academy of Arts, Burlington Gardens, London; and the Whitney Biennial 2006, Day for Night, Whitney Museum of American Art, New York. Trecartin received his B.F.A. from the Rhode Island School of Design, Providence, RI.
As a part of The Great Migration: A City Transformed (1916-30), a series of community film screenings will be held, highlighting films created through the project.
Artist Barkley L. Hendricks suggests that whether or not an artist is deemed contemporary is really about who is doing the talking.
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.
Caroline Lathan-Stiefel creates large-scale, immersive sculptural installations from textile and found objects to form what she calls “drawings in space.”
FringeArts presented Australian dance company Chunky Move’s Mortal Engine, a dance piece that incorporates video, music, and laser performance with sound-initiated projections.
Temple Contemporary commissioned 2006 Pew Fellow and MacArthur Fellow Pepón Osorio to create a new installation that responds to recent closings of Philadelphia public schools.
The Library Company of Philadelphia presents a conversation on living with blindness and vision loss.
One of Philadelphia’s smartest and scrappiest small, no-profit art spaces, Marginal Utility is known for forging long-term commitments with artists.
Judith Schaechter is a sculptor and stained-glass artist, and a 1992 Pew Fellow.
“What is an appropriate monument for the current city of Philadelphia?” Five temporary public artworks, created by artists Ai Weiwei, Zoe Strauss, Kara Crombie, Kaitlin Pomerantz, and Alexander Rosenberg, and on-site “laboratories” for public feedback will consider this question and notions of monumentality within the civic sphere.
Brenda Dixon Gottschild completed research and writing for her book, which tells the story of Joan Myers Brown and the previously unwritten 20th-century dance history of black Philadelphia.
Raphael Xavier and Eileen Neff receive Guggenheim Fellowships, exhibitions by visual artists Alex Da Corte and Ryan Trecartin make a splash in national venues, and Tania Isaac and Meg Foley each present new dance works in Philadelphia.