Different

Installation view of Designs for Different Futures (Bodies), featuring Seated Design: Sleeves and Shirt, 2016, by Lucy Jones; TiLite Wheelchair for FFORA Attachment System, 2019, by Numotion; Wheelchair Wheels for FFORA Attachment System, 2019, by Sinergy, Inc.; Photo by Juan Arce, courtesy Philadelphia Museum of Art, 2019.

Designs for Different Futures

Philadelphia Museum of Art: October 22, 2019–March 8, 2020

Walker Art Center: September 12, 2020–January 3, 2021

Art Institute of Chicago: February 6 –May 16, 2021

The role of designers in shaping how we think about the future is the subject of a major exhibition that will premiere at the Philadelphia Museum of Art this fall. Designs for Different Futures brings together some 80 works that address the challenges and opportunities that humans may encounter in the years, decades, and centuries ahead. Organized by the Philadelphia Museum of Art, the Walker Art Center, Minneapolis, and the Art Institute of Chicago, Designs for Different Futures will be presented at the Walker and the Art Institute of Chicago following its presentation in Philadelphia.

Among the questions today’s designers seek to answer are:  What role can technology play in augmenting or replacing a broad range of human activities?  Can intimacy be maintained at a distance? How can we negotiate privacy in a world in which the sharing and use of personal information has blurred traditional boundaries? How might we use design to help heal or transform ourselves, bodily and psychologically? How will we feed an ever-growing population?

While no one can precisely predict the shape of things to come, the works in the exhibition are firmly fixed on the future, providing design solutions for a number of speculative scenarios. In some instances, these proposals are borne of a sense of anxiety, and in others of a sense of excitement over the possibilities that can be created through the use of innovative materials, new technologies, and, most importantly, fresh ideas.

Timothy Rub, the George D. Widener Director and Chief Executive Officer of the Philadelphia Museum of Art, stated: “We often think of art museums as places that foster a dialogue between the past and the present, but they also can and should be places that inspire us to think about the future and to ask how artists and designers can help us think creatively about it. We are delighted to be able to collaborate with the Walker Art Center and the Art Institute of Chicago on this engaging project, which will offer our visitors an opportunity to understand not only how designers are imagining—and responding to—different visions of the future, but also to understand just how profoundly forward-looking design contributes in our own time to shaping the world that we occupy and will bequeath as a legacy to future generations.”

Thinking about the future has always been part of the human condition. It has also been a perennial field of inquiry for designers and architects whose speculations on this subject—ranging from the concrete to the whimsical—can profoundly affect how we imagine what is to come. Among the many forward-looking projects on view, visitors to Designs for Different Futures will encounter lab-grown food, robotic companions, family leave policy proposals, and textiles made of seaweed. 

“Some of these possibilities will come to fruition, while others will remain dreams or even threats,” said Kathryn Hiesinger, The J. Mahlon Buck, Jr. Family Senior Curator of European Decorative Arts after 1700, who coordinated the exhibition in Philadelphia with former assistant curator Michelle Millar Fisher. “We’d like visitors to join us as we present designs that consider the possible, debate the inevitable, and weigh the alternatives. This exhibition explores how design—understood expansively—can help us all grapple with what might be on the horizon and allows our imaginations to take flight.”

Installation view of Designs for Different Futures (Resources), featuring Another Generosity, designed 2018 by Eero Lundén, Ron Aasholm, and Carmen Lee of Lundén Architecture Company in collaboration with Bergent, BuroHappold Engineering, and Aalto University (Courtesy of the designers). Photo by Juan Arce, courtesy Philadelphia Museum of Art, 2019.

The exhibition is divided into 11 thematic sections. In Resources, visitors will encounter an inflatable pod measuring 15 feet in diameter, part of the work Another Generosity first created in 2018 by Finnish architect Eero Lundén and designed in this incarnation in collaboration with Ron Aasholm and Carmen Lee. The pod slowly expands and contracts in the space, responding to changing levels of carbon dioxide as visitors exhale around it, and provoking questions about the ongoing effect of the human footprint on the environment. The section titled Generations will explore ways in which the choices we make today may contribute to the well-being or suffering of those who come after us. Here, visitors will find a model of the Svalbard Global Seed Vault, a repository that stores the world’s largest collection of crop seeds. Located within a mountain on a remote island near the Arctic Circle, the facility is designed to withstand natural or human-made disasters. The Earths section of the exhibition speculates on the challenges of extra-terrestrial communication in Lisa Moura’s Alien Nations installation and showcases typeface from the 2016 science-fiction film Arrival

In Bodies, designers grapple with choices about how our physical and psychological selves might look, feel, and function in different future scenarios. Featured here is one of the world’s lightest and most advanced exoskeletons, designed to help people with mobility challenges remain upright and active. Also notable is the CRISPR Kit, an affordable and accessible gene-editing toolbox, which has the potential to revolutionize biomedical research and open opportunities for gene therapy and genetic engineering.

Intimacies is a section that explores how technologies and online interfaces may affect love, family, and community. Here, urban experiences of sex and love are the focus of Andrés Jaque’s Intimate Strangers, an audio-visual installation focusing on the gay dating app. Through internet-enabled devices, designers explore the possibility of digitally mediated love and sex,  suggesting what advanced digital networks hold for human sexuality. 

Foods contains projects that explore the future of the human diet. Among them is a modular edible-insect farm, Cricket Shelter, by Terreform ONE, which offers a ready source of protein for impending food crises. A kitchen installation suggests how technology and design may contribute to new modes of food production, including an Ouroboros Steak made from human cells. 

Additional sections of the exhibition will focus on the future of Jobs and how Cities will function and look 100 years from now—with robotic baby feeders, driverless cars, and other developments—affording a glimpse at how we might navigate living beyond this planet. Shoes grown from sweat are among the innovations visitors will find in a section devoted to Materials, while Power willlook at how design may affect our citizenship and help us retain agency over such essentials as our DNA, our voices, and our electronic communications in a future where the lines between record-keeping, communication, and surveillance blur. Data acknowledges and questions the different ways that information might be collected and used, with all its inherent biases and asymmetries, to shape different futures. 

Future Library, 2014–2114, designed by Katie Paterson (Exhibition display gift of the Future Library Trust, 2018 and purchased with the European Decorative Arts Revolving Fund, 2018). Photograph © Bjørvika Utvikling by Kristin von Hirsch, 2017. Image courtesy Philadelphia Museum of Art, 2019.

Futures Therapy Lab

As part of the exhibition, visitors to the Philadelphia Museum of Art galleries will also encounter a space for community meetups, public programs, school visits, and self-directed activities. The Futures Therapy Lab will weave personal connections between visitors and the exhibition as part of a collaboration between the museum’s Education Department and the curatorial team. Weekly programs, many of which will occur on Pay-What-You-Wish Wednesday Nights, will connect visitors with designers, artists, and locally based creatives. The Futures Therapy Lab will contain a crowdsourced Futures Library that includes everything from science-fiction books to the exhibition catalogue. “Thinking about possible futures is both exhilarating and anxiety-provoking,” said Emily Schreiner, the Zoë and Dean Pappas Curator of Education, Public Programs. “The Futures Therapy Lab is a place for conversation, critique, and creativity in which visitors can imagine their own hopes, fears and solutions for the future through reflection, discussion, and art making.” 

Support

Designs for Different Futures is organized by the Philadelphia Museum of Art, the Walker Art Center, and the Art Institute of Chicago. 

In Philadelphia, this exhibition is generously supported by the Annenberg Foundation Fund for Major Exhibitions, the Robert Montgomery Scott Endowment for Exhibitions, the Kathleen C. and John J. F. Sherrerd Fund for Exhibitions, Lisa Roberts and David Seltzer in honor of Collab’s 50th Anniversary, the Women’s Committee of the Philadelphia Museum of Art, the Laura and William C. Buck Endowment for Exhibitions, the Harriet and Ronald Lassin Fund for Special Exhibitions, the Jill and Sheldon Bonovitz Exhibition Fund, and an anonymous donor.

Publication

Centered on the innovative contemporary design objects, projects, and speculations of the exhibition’s checklist, the accompanying volume proposes design as a means through which to understand, question, and negotiate individual and collective futures, giving provocative voice to the most urgent issues of today. It asks readers to contemplate the design context within broader historical, social, political, and aesthetic spectrums. Designs for Different Futures addresses futures near and far, exploring such issues as human-digital interaction, climate change, political and social inequality, resource scarcity, transportation, and infrastructure.

The primary authors are Kathryn B. Hiesinger, Michelle Millar Fisher, Emmet Byrne, Maite Borjabad López-Pastor, and Zoë Ryan, with Andrew Blauvelt, Colin Fanning, Orkan Telhan, Juliana Rowen Barton, and Maude de Schauensee. Additional contributions include texts by V. Michael Bove Jr. and Nora Jackson, Christina Cogdell, Marina Gorbis, Srećko Horvat, Bruno Latour, Marisol LeBrón, Ezio Manzini, Chris Rapley, Danielle Wood, LinYee Yuan, and Emma Yann Zhang; and interviews with Gabriella Coleman, Formafantasma (Andrea Trimarchi and Simone Farresin), Aimi Hamraie and Jillian Mercado, Francis Kéré, David Kirby, Helen Kirkum, Alexandra Midal, Neri Oxman, and Eyal Weizman.

Designs for Different Futures will be distributed by Yale University Press. The book was overseen by Philadelphia Museum of Art publishing director Katie Reilly and editors Katie Brennan and Kathleen Krattenmaker. It is designed by Ryan Gerald Nelson, Senior Graphic Designer at the Walker Art Center, under the direction of Walker design director Emmet Byrne.

It is available in the museum store ($40) or via the museum website.  

Designs for Different Futures 

ISBN 9780876332900 

Petit Pli—Clothes That Grow, designed 2017 by Ryan Mario Yasin (Courtesy of the designer). Photograph © Ryan Mario Yasin. Image courtesy Philadelphia Museum of Art, 2019.

Related Program

The Futures Therapy Lab will host a series of weekly happenings:

Artists in the Lab
Artists and designers share their work through talks, demonstrations, and workshops. Wednesday Nights, 5:00–8:45 p.m.

The Designer is In
Talk it out. One-on-one sessions with local designers offer new perspectives on your everyday life. Thursdays & Saturdays, 2:00–4:00 p.m.

Sci-Fi Sundays
Drop-in readings that explore narratives of the future. Select Sundays, 2:00–3:00pm

See Full Schedule of Related Public Programs 

Curatorial Team

The curatorial team is comprised of: at the Philadelphia Museum of Art, Kathryn B. Hiesinger, The J. Mahlon Buck, Jr. Family Senior Curator of European Decorative Arts after 1700, and Michelle Millar Fisher, formerly The Louis C. Madeira IV Assistant Curator of European Decorative Arts after 1700; at the Walker Art Center, Emmet Byrne, Design Director and Associate Curator of Design; and at the Art Institute of Chicago, Maite Borjabad López-Pastor, Neville Bryan Assistant Curator of Architecture and Design, and Zoë Ryan, the John H. Bryan Chair and Curator of Architecture and Design. Consulting curators are Andrew Blauvelt, Director, Cranbrook Art Museum, Bloomfield Hills, Michigan, and Curator-at-Large, Museum of Arts and Design, New York; Colin Fanning, Independent Scholar, Bard Graduate Center, New York; and Orkan Telhan, Associate Professor of Fine Arts (Emerging Design Practices), University of Pennsylvania School of Design, Philadelphia.

Kathryn B. Hiesinger is The J. Mahlon Buck, Jr. Family Senior Curator of European Decorative Arts after 1700 at the Philadelphia Museum of Art. Her work focuses on decorative arts and design from the mid-nineteenth century to the present and includes the exhibitions and publications Zaha Hadid: Form in Motion (2011), Out of the Ordinary: The Architecture and Design of Robert Venturi, Denise Scott Brown and Associates (2001), Japanese Design: A Survey since 1950 (1994) and Design since 1945 (1983). 

Michelle Millar Fisher is the Ronald C. and Anita L Wornick Curator of Contemporary Decorative Arts at the Museum of Fine Arts, Boston. She is a graduate of the University of Glasgow, Scotland, and is currently completing her doctorate in architectural history at the Graduate Center of the City University of New York. She is the co-author, with Paola Antonelli, of Items: Is Fashion Modern? (2017). 

Emmet Byrne is the Design Director and Associate Curator of Design at the Walker Art Center in Minneapolis. He provides creative leadership and strategic direction for the Walker in all areas of visual communication, branding, publishing, while overseeing the award-winning in-house design studio. He was one of the founders of the Task Newsletter in 2009 and is the creator of the Walker’s Intangibles platform.

Maite Borjabad López-Pastor is the Neville Bryan Assistant Curator of Architecture and Design at the Art Institute of Chicago. She is an architect and curator educated at the Universidad Politécnica de Madrid and Columbia University, New York. She is the author and curator of Scenographies of Power: From the State of Exception to the Spaces of Exception (2017). Her work revolves around diverse forms of critical spatial practices, operating across architecture, art, and performance.

Zoë Ryan is the John H. Bryan Chair and Curator of Architecture and Design at the Art Institute of Chicago. She is the editor of As Seen: Exhibitions That Made Architecture and Design History (2017) and curator of In a Cloud, in a Wall, in a Chair: Six Modernists in Mexico at Midcentury (2019) and the 2014 Istanbul Design Biennial, The Future is Not What it Used to Be. Her projects explore the impact of architecture and design on society. 

Social Media
Twitter/Facebook/Instagram/Tumblr/YouTube: @philamuseum

We are Philadelphia’s art museum. A world-renowned collection. A landmark building. A place that welcomes everyone. We bring the arts to life, inspiring visitors—through scholarly study and creative play—to discover the spirit of imagination that lies in everyone. We connect people with the arts in rich and varied ways, making the experience of the Museum surprising, lively, and always memorable. We are committed to inviting visitors to see the world—and themselves—anew through the beauty and expressive power of the arts.

Thank you to the Philadelphia Museum of Art for the content of this post.

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What do you want the future to look like?

Dream

I Have A Dream
I Have A Dream, Virginia Repertory Theatre

Spring 2020 Stages of Discovery Performance Series Gordon Theater, Rutgers-Camden Center for the Arts 

I Have A Dream

The phenomenal impact of Dr. Martin Luther King, Jr. is chronicled in this compelling dramatization of the life and times of one of the most influential and charismatic leaders of the American Century. Inspired by the arrest of Rosa Parks, Dr. King puts his philosophy of nonviolent protest to work. He gains recognition and becomes the dominant force in the Civil Rights Movement during its decade of greatest achievement.

Interested?…RESERVE NOW!

I Have A Dream

High quality live performances for School Audiences & Families
$8.00 per ticket Camden, NJ students & residents; all others $10.00 per ticket
Get 1 adult ticket free per every 10 student tickets purchased
Reservations are required, Contact: Miranda Powell, 856-225-6202, miranda.powell@rutgers.edu

Rutgers–Camden Center for the Arts, Rutgers Camden Center/Arts, Rutgers, The State University of New Jersey, 3rd Street, between Cooper & Pearl Streets, Camden, NJ 08102

Rest in Peace Elijah Cummings, Rest in Love, Rest in Power.

Thank you to Miranda Powell for the content of this post.

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Participatory

KAMEELAH JANAN RASHEED’S PARTICIPATORY ART PROJECT
Kameelah Janan Rasheed, Borges, Musa, and Khidir, 2019, Archival Inkjet Print, courtesy the artist.

Kameelah Janan Rasheed, Participatory Art Project on Learning, Unlearning, and Play, Haverford College

Last spring, Kameelah Janan Rasheed, as part of her Katowitz Radin residency at the Brooklyn Public Library, orchestrated a sprawling 120-foot site-specific text mural and interactive public art experience at its central branch on Grand Army Plaza. The project, known as Scoring the Stacks, invited visitors to explore wandering as a mode of learning by performing a set of instructions contained in a series of “scores” that, rather than depicting musical notes to follow, featured directions for language-based actions that could be taken throughout the space. For example, participants were invited to “Find a blue book. Read the last page and write down a word you’d like to use in a future conversation” and record their findings on carbon paper.  Using the carbon copies of participant’s notations, a series of public programming in collaboration with artists Morgan Bassichis, An Duplan, and Brass Burlesque, led participants in the transformation of these notations into poems, songs, and dance movements.

Now Rasheed is undertaking her second experiment in this ongoing series at Haverford College’s newly renovated and renamed Lutnick Library. Scoring the Stacks (Experiment II) will turn Haverford College’s Cantor Fitzgerald Gallery into a satellite of Lutnick Library, offering visitors space for their own research, reflection, experimentation, and collaboration inspired by an installation of Rasheed’s recent work. Viewers will be invited to use a new set of scores to explore chance-based pathways through the library, gallery, arboretum, and other institutional spaces and collections as a way to encounter new ideas and build relationships between seemingly unconnected concepts.

Scoring the Stacks (Experiment II) likeits first iterationgains its momentum from the concept of “primitive hypertext”—a term coined by Black science-fiction writer Octavia Butler, who has described it as a learning ethos attentive to the possibilities of a meandering, non-linear, associative, and agile process of making sense of the world. To engage in an act of “primitive hypertext” is to seek out opportunities to map generative relationships between wide-ranging ideas, words, objects, and experiences.

Rasheed, a former high school history teacher, is interested in how people learn and the role of wandering, de-accelerating, and nurturing tangential connections in building a radical ethos of learning that prioritizes process over product. As such, her scores “encourage visitors to wander, to slow down, and to learn by discovery,” as she told Artforum. Prints of her recent work will be on display in the gallery, but the exhibit is experienced in the “performances” of its 10 scores in the library and across campus. The finished, notated scores will be collected and reassembled in a book created by Rasheed and released towards the end of the exhibit’s eight-week engagement on campus.

Kameelah Janan Rasheed is a Brooklyn-based artist and learner from East Palo Alto. Her sprawling inquiry has led her to develop work that explores experimental poetry, reference texts, intimate intertextuality, techniques of non-institutional archiving, anecdotes of religious syncretism, histories of human as well as non-human communication methods, enclosure systems, and ecological studies. Rasheed makes her inquiries visible through an ecosystem of iterative and provisional projects including sprawling, Xerox-based “architecturally-scaled collages” (frieze magazine, winter 2018); interactive publications; large-scale text banner installations; digital archives; lecture-performances; library interventions; poems/poetic gestures; and other forms yet to be determined. Rasheed has exhibited at the 2017 Venice Biennale, ICA Philadelphia, Pinchuk Art Center, Brooklyn Museum, Queens Museum, New Museum, Studio Museum in Harlem, Bronx Museum, Brooklyn Public Library, Schomburg Center for Research in Black Culture, and The Kitchen, among others. She is the author of two artist books, An Alphabetical Accumulation of Approximate Observations (Endless Editions, 2019) and No New Theories (Printed Matter, forthcoming 2019).

Scoring the Stacks (Experiment II) will be on view Oct. 25 through Dec. 15 at Haverford College’s Cantor Fitzgerald Gallery and Lutnick Library. Join us for an artist’s talk and opening reception Friday, Oct. 25, from 4:30–7:30 p.m. at Cantor Fitzgerald Gallery. A book release and discussion will be held Wednesday, Dec. 4, at 4:30 p.m. in Lutnick Library 200. For further details: exhibits.haverford.edu/scoringthestacks.

Scoring the Stacks was conceived by Kameelah Janan Rasheed in its first iteration at the Brooklyn Public Library, curated by Cora Fisher. This is the second experiment in the artist’s ongoing series. Support for the exhibition and programs is provided by the John B. Hurford ’60 Center for the Arts and Humanities and Haverford College Libraries.

Overseen by the John B. Hurford ’60 Center for the Arts and Humanities and located in Whitehead Campus Center, the Cantor Fitzgerald Gallery is open Monday through Friday 11 a.m. to 5 p.m., Saturdays and Sundays 12 p.m. to 5 p.m., and Wednesdays until 8 p.m. For more information, contact Matthew Seamus Callinan, associate director of the Cantor Fitzgerald Gallery, VCAM, and campus exhibitions, at (610) 896-1287 or mcallina@haverford.edu, or visit the exhibitions program website: www.haverford.edu/exhibits.

Haverford College is located at 370 Lancaster Avenue, Haverford, Pa., 19041.

Thank you to Rebecca Raber for the content of this post.

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7 MILE

Jamea Richmond-Edwards Explores Detroit’s Fashion and Style in 7 Mile Girls

JAMEA RICHMOND-EDWARDS EXPLORES DETROIT’S FASHION AND STYLE IN 7 MILE GIRLS

Artist Talk & Opening Reception at Rowan University Art Gallery: Thursday, November 7, 5:00 PM – 7:00 PM

GLASSBORO, NJ – Rowan University Art Gallery presents 7 Mile Girls, an exhibition exploring the connection between Black female style of Detroit’s inner city, with designer fashion and self-empowerment. Featuring several new works by artist Jamea Richmond-Edwards alongside paintings loaned by the Rubell Family Collection, the exhibition will run November 7 – December 21, 2019, with an opening reception on Thursday, November 7 from 5:00 PM – 7:00 PM. 

Richmond-Edwards grew up observing the Black community’s fashion style in Detroit’s inner-city during the late 1980s and early ’90s. Popular and idolized were Coogi sweaters, red gators, and designer bags from Gucci and Louis Vuitton. She understood the correlation of the fashion industry around the Black female experience and their complex relationship with luxury clothing.  

Jamea Richmond-Edwards Explores Detroit's Fashion and Style in 7 Mile Girls
Jamea Richmond-Edwards 2018, Shirt with Lace Heart, 72 x 128″, Image Courtesy Kravets Wehby Gallery

The artifice of dressing became the driving narrative of her work and her form of Black aesthetic and expression. She was particularly interested in how her work confronted social disparities and the inequitable practices and tone-deaf decisions continually made by the fashion house of H&M, Adidas, Gucci, and Prada. In opposition to the market focus of these brands her imagery is inspired by the styles of Black designers who have made a positive impact on the fashion perspective, particularly Dapper Dan for Gucci, and the work of Duro Olowu, alongside influences of artists coming out of AfriCOBRA and the Black Arts Movement.

The title 7 Mile Girlsrefers to the street in Detroit where Richmond-Edwards grew up and where she encountered many of the female subjects in her paintings. Inspired by women in her life, the central female figures in her paintings confront the viewer with an air of confidence and agency as guardians of Black culture.  Across her multi-layered collages, the artist conveys the complex intersection of Black style, capitalism, fashion, and personal identity through the lens of these resilient Black women.

Jamea Richmond-Edwards 2019, Two Sisters and the Horned Serpent, 8 x 6 feet, Image Courtesy of Kravets Wehby Gallery

ABOUT THE ARTIST  
Jamea Richmond-Edwards
graduated with a Bachelor of Arts degree from Jackson State University in 2004 where she studied painting and drawing. She went on to earn an MFA from Howard University in 2012. She offers a repertoire of portraits of women drawn using ink, graphite and mixed media collage. Richmond-Edward’s work has garnered the attention of various art critics including in the Washington Post and the Huffington Post’s “Black Artists: 30 Contemporary Art Makers Under 40 You Should Know”. Richmond-Edwards has exhibited her artwork nationally and internationally including the Delaware Art Museum, California African American Museum, Charles Wright Museum in Detroit, MI, and Galerie Myrtis in Baltimore, Maryland. Her works are in the permanent collection of private collectors across the country including the Embassy of the United States in Dakar, Senegal. She currently resides in Maryland with her Husband and three sons. 


ABOUT ROWAN UNIVERSITY ART GALLERY 
Rowan University Art Gallery
serves as a premier cultural destination for South Jersey, the Rowan community, and surrounding region. Our mission is to provide a platform for discourse on best practices in contemporary art by professional artists, curators, and scholars through the presentation of interdisciplinary art exhibitions, panel discussions, guest curatorial projects, and other public programming. 

The Gallery has a history of programming that recognizes the achievements of women in the visual arts with group and one person exhibitions that included: Beverly Semmes (2011), Joyce Kozloff (2014), Jeanie Jaffe (2015), Diane Burko (2018), Heather Ujiie (2018), Ebony G. Patterson (2019), and Julie Heffernan (2019). Its permanent collection includes the groundbreaking and historic installation The Sister Chapel.

This exhibition is presented with the generous support of the Joseph Robert Foundation. Support for programming at Rowan University Art Galleries is also made possible by funds from the New Jersey State Council on the Arts, a partner agency of the National Endowment for the Arts. For more information please visit: rowan.edu/artgallery.

GALLERY LOCATION

301 High St W, Glassboro, NJ 08028, 856-256-4521

Visit us online at rowan.edu/artgallery and follow us on Facebook @RowanGallery.  #RowanGallery #7MileGirls

GALLERY HOURS

Monday – Friday, 10 am – 5 pm 

Saturday, 12 pm – 5 pm

Public parking is available in the Mick Drive Parking Garage across the street from the gallery. Admission to the gallery, lecture, and reception is free and open to the public.

Thank you to Chelsea Markowitz for the content of this post.

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Four

Four Must-Experience Art Events This Fall In Philadelphia

Four Philly Art/Music
Moon Viewing Platform by Nadia Hironaka, Matthew Suib and Eugene Lew, is part of
Site/Sound: Revealing the Rail Park, through October 19, 2019.

by Arturo Varela

One-of-a-kind artistic installations and experiences: Philadelphia’s full of them in October. Visitors can enjoy three weekends of audio-visual stimulation along the footprint of the Rail Park; five Halloween-themed experiences by famed choreographer Brian Sanders; an eerie, three-dimensional Ghost Ship along the Delaware River; and a colorful display of spinning tops (large enough to spin humans) at the Kimmel Center for the Performing Arts.

The best way to enjoy these and other fall happenings in Philly: the Visit Philly Overnight Hotel Package, offering free parking and other perks and bookable at visitphilly.com.

  1. Site/Sound: Revealing the Rail Park – For three Saturdays in October, Philadelphia’s emergent Rail Park and its surrounding neighborhood hosts a new festival that combines audio-visual art installations and diverse musical performances that are all shaped by their surroundings. Taking place above and below city streets, the 20 performances and programs honor the past, present and future of the historic corridor along the famed Reading Railroad. The event is a collaboration between Friends of the Rail Park, Mural Arts Philadelphia and America Composers Forum, Philadelphia Chapter. Through October 19, 2019. Various locations between Vine & Spring Garden Streets, 9th & 18th Streets, muralarts.org
  2. 2nd Sanctuary: A Multi-Experience Halloween Attraction – Brian Sanders’ JUNK brings Halloween-inspired performances to 2nd Sanctuary, a 19th-century Victorian church in the city’s Graduate Hospital neighborhood. The five distinct experiences—all focused on the 1970s and all encouraging audience participation—include a virtual reality, live action tour; a modern dance performance; and an escape room (all three of which require separate tickets; other two experiences included with all ticket purchases). Through November 3, 2019. 2040 Christian Street, (267) 406-6080, briansandersjunk.com
  3. Ghost Ship – A 90-foot, site-specific, 18th-century ghost ship appears after nightfall on the Delaware River between Race Street Pier and Pier 12 (near the Benjamin Franklin Bridge). The eerie, three-dimensional hologram, created by Biangle Studio, recalls the free and forced migration people made on these American waters. Visitors to the ship can also enjoy the River Beer Garden at Race Street Pier, featuring food from Lost Bread Co. Bakery and drink from Mainstay Independence Brewing Company. Through November 3, 2019. (215) 922-2386, delawareriverwaterfront.com
  4. Los Trompos – The Kimmel Center for the Performing Arts’ Commonwealth Plaza is filled with more color and movement than usual thanks to Los Trompos (translation: the spinning tops), a creation of Mexican designers Héctor Esrawe and Ignacio Cadena. The installation features 10 beautifully woven three-dimensional spinning tops of various shapes and sizes that showgoers can sit in and spin on—all in an effort to promote collaboration and community interaction. Through November 17, 2019. 300 S. Broad Street, (215) 893-1999, kimmelcenter.org
2nd Sanctuary: A Multi-Sensory Halloween Experience

VISIT PHILADELPHIA® is our name and our mission. As the region’s official tourism marketing agency, we build Greater Philadelphia’s image, drive visitation and boost the economy.

On Greater Philadelphia’s official visitor website and blog, visitphilly.com and uwishunu.com, visitors can explore things to do, upcoming events, themed itineraries and hotel packages. Compelling photography and videos, interactive maps and detailed visitor information make the sites effective trip-planning tools. Along with Visit Philly social media channels, the online platforms communicate directly with consumers. Travelers can also call and stop into the Independence Visitor Center for additional information and tickets.

Thank you to Arturo Varela for the content of this post.

CONTACT: Arturo Varela, (267) 765-0367, arturo@visitphilly.com

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