Weeks before the pandemic necessitated its temporary closure, Philadelphia’s National Museum of American Jewish History filed for bankruptcy in hopes of keeping its doors open.
The artwork was looted by Nazis before it was purchased by a New York collector and friend of Mondrian, who donated it to the PMA.
In Philadelphia, a series of solo shows delves into the interdisciplinary practices of graduates whose work explores identity, familial bonds, political constructs, and nature’s fragility.
Her female nudes were extraordinary for the time because she portrayed female sexual desire. Her subjects defied conventional ideals of femininity.
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.
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.