Now that it’s been settled in its new location for almost a year, the Barnes Foundation is getting comfortable and raising ticket prices — which wouldn’t really be newsworthy if it weren’t for the reason they’re providing for the change. According to the Philadelphia Inquirer, the museum is overcrowded and lots of visitors don’t know how to behave. Barnes President Derek Gillman offered these choice words:
“We’re seeing many more people not familiar … with what is proper behavior.” He added that the gallery wanted those additional visitors, but with new gallerygoers “we’re seeing more transgressions of people touching things and getting too close” to the art, he said.
Popularity’s a bitch, ain’t it?
The new ticket price for adults, up to $22 from $18, now includes the audio guide, which tells visitors not to touch or get too close to the art. Another Inquirer article reports that Gillman himself will be heard on the guide, “accompanied by chamber music,” saying: “Please don’t sit on any of the chairs in the room. That’s what the benches are for.” So in theory, most people will now get the audio guide and be lulled into obedience. In practice, it sort of looks the museum is raising prices to stave off the masses. To be fair, though, the price increase is also meant to spread out the distribution of visitors, and tickets will remain at the old price level, $18, for the last three hours of every day.
Memes depicting a sinister, all-powerful Joe Biden alter ego are sweeping the internet, and the Democratic establishment is loving it.
“She dug into what she was fascinated by and obsessed with: things that existed on the periphery, people who didn’t follow the rules,” said one of her friends.
The Newark Museum of Art Presents Jazz Greats: Classic Photographs from the Bank of America Collection
Photographers Antony Armstrong Jones, Milt Hinton, Chuck Stewart, Barbara Morgan, and more capture a breadth of legendary and local musicians and performance artists. On view through August 21.
The prized antiquities, dating from the Bronze Age to the 12th century, were trafficked by the notorious British dealer Douglas Latchford.
With Paradise Camp, artist Yuki Kihara attempts to challenge and undermine colonial images of Sāmoa through a radical camp aesthetic.
Art and photographs, publications from the 19th and 20th centuries, manuscripts, posters and more are set to cross the auction block on August 18.
Combining elements of Surrealism, Symbolism, and portraiture, Vicuña’s paintings are parables of personal and political awakening.
Featuring a delicate lead performance by Christine Froseth, this is a smart, sometimes purposefully discomfiting comedy about taking control of one’s sexuality.
Masaaki Yuasa’s latest anime feature embodies a revolutionary spirit in its tale of outcasts breaking ground in medieval Japan.
Lebanese art dealer Georges Lotfi, who once helped authorities seize looted antiquities, is now accused of doing his own share of trafficking too.
An exhibition depicts how people have reimagined the medieval period in the centuries since, and how they have revealed their own interests and ideals with each new interpretation.