“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.
Brooke Davis Anderson, an expert on self-taught and outsider artists, reflects on how embellished text is often found in these artists’ works.
Mural Arts’s A Love Letter for You was featured in the Guardian in 2011 as part of a collection of photos of the ten best street art works.
The Historical Society of Pennsylvania engaged stakeholder and community groups to determine how its historic building could better serve its primary constituents.
Karen M’Closkey and Keith VanDerSys (2013 Pew Fellows) explore the potential of new tools, fabrication technologies, and construction to expand the beauty and sustainability of the urban landscape.
Fleisher Art Memorial is a community arts organization dedicated to the ideal that people of all ethnicities and socioeconomic backgrounds have a right to experience art.
In 2000 the Center awarded Pew Fellowships to 12 Philadelphia-based artists, and grants to 47 dance, music, theater, and visual arts organizations and practitioners in the greater Philadelphia region.
Barbara A. Campagna has worked for the past 25 years as an architect, planner, and historian, reinventing and restoring historic and existing buildings.
One of Philadelphia’s smartest and scrappiest small, no-profit art spaces, Marginal Utility is known for forging long-term commitments with artists.
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.
Philadelphia artists Zoe Strauss, Kara Crombie, Alexander Rosenberg, and WE THE WEEDS propose speculative monuments for the city as part of Monument Lab, hosted by The Pennsylvania Academy of the Fine Arts.
Strange Currencies is the first exhibition to articulate a history for the unorthodox, artist-run spaces that emerged in Mexico City in the 1990s.
The Pew Center for Arts & Heritage’s partnership with United States Artists (USA) allows Pew Fellows to participate in USA’s unique online fundraising platform to raise money and awareness about upcoming projects.