Native Americans are living in our midst, as a wonderful combination of artistry and technology at the Penn Museum makes abundantly clear.
William Daley might refer to himself as a “mud man,” but he is a sculptor with the three-dimensional vision of an architect.
Originally, the Kimmel Center had aspirations of becoming the Center City “meet and greet” location for all cultural-minded urbanites from Philadelphia and beyond. That hasn't happened — and the off-putting car crash ("The Slow and Inevitable Death of American Muscle") currently on display does nothing to help.
LGTripp Gallery’s Sixth Annual Abstract Photography Exhibition raises basic questions: How can a photograph be about nothing? How can an artist take a picture of a feeling, as in Abstract Expressionist paintings?
Do men and women use color differently in abstract art? Chris Schmidt thinks so, but I’m not so sure.
Sarah McEneaney’s unique voice invites viewers to experience the life of an artist who happens to be a woman living in Philadelphia and envisioning a future positive addition to the urban landscape: Trestletown.
The late contemporary artist Jason Rhoades comes across here as a very young man— the creative type who takes over his family’s garage and basement with various projects, then goes off to college leaving behind all his unfinished explorations into the meaning of life for his parents to clean up.
Peter Paone does not paint pretty pictures. His flowers are never what they might seem. Look closely and you’ll find the killer bee and the potential rapist.
“The Malcolm X Steles” is a fitting tribute to the African American civil rights leader, sculpted by a Renaissance woman who deserves a higher profile in her native city.
Jennifer Bartlett began her professional life by pondering the kind of art she could create that wouldn't look like everyone else's work. If only more artists would think and act along these lines, we could have another Renaissance.