Currently on view at Penn’s Arthur Ross Gallery, Willie Cole’s travelling show On Site contains the artist’s signature found-object sculpture, which transforms common domestic objects like irons, shoes, and bottles into powerful ensembles evoking ancient gods and contemporary consumer culture.
Read MoreNeil takes in the 2nd installment of the 39th annual Wind Challenge at Fleisher Art Memorial, which features work by Emily White, Amy Ritter, and Debbie Lerman. All three explore the body’s vulnerability and mutability, from the bodies of bison who used to roam the plains, to the bodies of memory explored in Amy Ritter’s sculpture and Debbie Lerman’s quilts.
Read MoreSometimes it looks like a science fair and sometimes it looks like an art exhibit. Either way, Michael Lieberman says the exhibition, How Food Moves: Edible Logistics, is a good one to sink your teeth into.
Read MoreThe current show at Haverford’s Cantor Fitzgerald Gallery brings together a diverse group of activist artists who critique consumer culture, colonialism, and the exploitation of the planet. Their goal, Evan says, is to get us out of the gallery and into the world to make meaningful change.
Read MoreMatthew Rose offers a critical take on ’80s art wunderkind Julian Schnabel’s latest show in Paris, which features images of the god Shiva overlaid with the artist’s own interventions. Is this a genuine attempt at an artistic dialogue between East and West, or an unfortunate tone-deaf combination of art and religion?
Read MoreDonald Hunt thinks about what defines American music in his review of the Philadelphia Orchestra’s recent performance of music by Leonard Bernstein, Pat Metheny and Antonin Dvorák.
Read MoreThe textiles on view betray a range of technical skill in both the stitchery and designs. Some show a sophisticated ability to render forms and were obviously transferred from patterns, while others seem to have been made up as the embroiderer went along. It is hard to believe that the precision of stitching in the Bagh phulkari weren’t made by professional craftsmen. There is no surviving literature that would indicate how designs circulated–indeed, there is almost no surviving history of phulkari in general, hence the significance of this collection and its catalog.
Read More
