The collaborative handmade paper- and printmaking center at the Pennsylvania Academy of the Fine Arts publishes new works by Liz Collins and Sarah McEneaney.
Designing Motherhood includes over 100 objects spanning medical devices to depictions of laboring women in films.
Through “Historic Site,” an 8-foot-tall plaque and Historic Sight, a year-long rotating exhibition in Pittsburgh, the Black Cube Fellows investigate how history is constructed, remembered, and retold.
The works in Fault Lines prove that abstraction need not be confined to the inner life of the artist.
In The Contest of the Fruits, the art collective Slavs and Tatars investigates language, politics, religion, humor, resilience, and resistance in a pluralistic world.
Over 50 years of the artist’s video and media work on how images, sound, and cultural iconography inform representation is on view through December 30.
It seems to me that Soutine’s complete lack of interest in the cubists’ desire for order was exactly what appealed to de Kooning.
Workers are charging the museum’s leadership with “obstructing the free and fair election process through anti-union activity.”
In Vaughn’s hands, “success” takes shape as a parade of etiquette, competition, and power.
The museum has not yet addressed demands to terminate the curator who was in charge of the remains.
Janet Monge used the victim’s remains in an online course titled “Real Bones: Adventures in Forensic Anthropology.”
The bones of Black Philadelphians killed in the 1985 airstrike have been kept at the museum for decades.