Category Archives: Games


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.” 


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.


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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DoNArTNeWs – celebrating eleven years reporting on Philadelphia artists and art.

What do you want the future to look like?


The Artistry of Slot Machines, Visual and Aural CuesThe Artistry of Slot Machines

Following years of disappointing revenue, news that Philadelphia’s SugarHouse Casino is set to expand have emerged. The expansion is expected to add to the number of total games being offered by the casino, which in turn should allow more people to experience the artistry of slot machines.

As humans, we are creatures that are compelled by visual and aural cues, which is why casinos are often lit with bright flashy lights, ringing with bells and an assortment of other sounds. However, if there was one sense that overpowered the other on the casino floor, it would be sight.

 As Bally Technologies’ Corporate Communications manager Mike Trask said, “When you walk through a casino… you look for something that looks interesting. A player either looks for a game they like or for something that’s appealing visually”.

The imagery depicted on slot machines is crucial in terms of attracting players. Although people find familiarity in the three-reeled slot machines with falling images of fruits, gold bars and dollar signs, gamblers need more entertainment visually in order for them to be convinced of placing more bets. Illustrations have gone digital and now slot machines are utilizing video screens for impeccable graphic design. Video slots have become so popular that Total Gold, the newest player in the online casino scene, has taken to featuring various themed slots like Gonzo’s Quest, Bloodlines, and Spellcast, all with a unique look and feel.

Some themes and artistic designs have resonated over others, and when it comes to graphic design, science is just as much at play as art is. Gamblers have shown a greater preference towards the ocean-themed machines not only because of the high definition skeumorphic graphical user interface, but also because of the color blue ignites feelings of inner peace and security. There are a number of components in the provision of artwork for slot machines. In a way, graphic designers specifically for casino gaming technologies have a more difficult time in art development than other artists, since these graphic designers have to produce an interface that is prominent yet it’s still attempting to appeal to the entire crowd.

The simplicity of the three-reeled slot machine is still pulling patrons in, but now that more casinos are filled with video casino games, players are gaining appeal for higher quality playing with games like the Avatar-themed slot machines. You may not notice the impact of the slot machine artwork at first, yet you will once you realize that you’ve been sitting at the machine for several hours.

The Artistry of Slot Machines‘ is a contributed blog post.

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Autism Expressed

Autism Expressed, Michele McKeoneAutism Expressed, Michele McKeone

Autism Expressed: Improving Digital Literacy” with Michele McKeone

Program Description:

Digital Literacy is an essential part of job readiness, socialization and independence. Without these skills this generation faces a critical barrier to independence.

Working to continually raise the bar on the educational landscape and level the playing field for students with disabilities, McKeone presents, consults & facilitates training to reinforce the notion that students with autism and other learning variations can achieve more. This year Autism Expressed was named winner of the Educational Services of America Prize, Startup of the Year, and appeared on the cover of Philadelphia Magazine for their innovation in special education.

Join Michele and Trainers Edge to find out how she developed the idea for Autism Expressed and brought it to life to serve not only as a catalyst for new and innovative cognitive and social development for this generation of adolescents with autism, but for everyone living in the digital age.

Would you like to learn more about how AE started and addresses digital literacy? Join Trainers Edge ASTD Philly on Saturday, May 17th to find out more. Just sign up to register

I met Michele McKeone at a Corzo Center for the Creative Economy event at University of the Arts. Her concept to use technology to help kids with autism communicate is deep and thoughtful. Michele is a real Philly N3RD, too, Autism Expressed is a home town tech start up with a great mission.

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Imaginary Reality

Tim Portlock, Imaginary RealityTim Portlock, Gold, Inkjet Print, 54″ x 72”, © Tim Portlock 2012

Main Line Art Center Unveils Award for 10th Annual
Betsy Meyer Memorial Exhibition 

Imaginary Reality Features Nic Coviello, Tim Portlock & Jennie Thwing
Curated by: Amie Potsic, Executive Director of Main Line Art Center

April 1 – 30, 2014. Artist Talk and Gallery Tour: Friday, April 4, 5:30-6:30 pm. Opening Reception: Friday, April 4, 6:30-8:30 pm

Associated Programs: 

  • iPainting on the Go Workshop with Nic Coviello: Thurs., April 17, 6-8:30 pm. 
  • Technology in Art: Visionary Influence Lecture with Tim Portlock: Mon., April 21, 6-7:30 pm. 
  • Still Animation Workshop with Jennie Thwing: Thurs., April 24, 6-8:30 pm

Featuring Nic Coviello, Tim Portlock, and Jennie Thwing,  Imaginary Realityrunning April 1 to 30, is the 10th annual Betsy Meyer Memorial Exhibition at Main Line Art Center. Curated by Amie Potsic, Executive Director of Main Line Art Center, Imaginary Reality explores the expansion of artistic dialogue yielded by combining traditional mediums and digital arts, and coincides with the introduction of the Center’s new digital media program.  In honor of the 10th anniversary, the Center is proud to announce the expansion of the exhibition program to include the Meyer Family Award for Contemporary Art.

Trained in the classic artistic mediums, each artist adopted digital technology as a means of deepening their investigations of invented landscapes, imaginary narratives, and personal identity.  In essence, they have created unique visual languages that combine painting, printmaking, digital photography, stop animation video, 3D gaming technology, performance, and installation. Contextualizing digital imagery in service of storytelling and discovery, their work exists in between and among mediums to create new and unexpected realities that challenge our definitions of self, place, and human experience.

For the past decade, Main Line Art Center has presented an exhibition each spring in memory of Teaching Artist Betsy Meyer featuring the work of forward-thinking artists who are pushing boundaries within their artistic practice.  As an artist, Betsy exemplified what is most exciting about engaging with the artwork of living artists:  watching them experiment with their media and tackling complicated and tough subjects.  As a teacher, she encouraged her students to follow her example and expand their practice into new frontiers.  And finally, as a member of the board and exhibition committee, she assured that the Art Center was there for the artistic community of Philadelphia.

Nic Coviello, Imaginary RealityNic Coviello, Pole Walker, Acrylic and Digital Media on Panel, 24″ x 18″, © Nic Coviello 2012

Imaginary Reality marks an expansion of the program to include the Meyer Family Award for Contemporary Art, which consists of a solo exhibition and award of $1000 to each selected artist.  The growth of this program is an effort to support the talented contemporary artists in the Mid-Atlantic region, to honor deserving artists in the field, and to encourage excellence and experimentation in artistic practice, presentation, and community involvement.  The application period begins April 1 and runs through September 22, 2014. The Main Line Art Center is thankful to Betsy Meyer’s family for their generous and unyielding support of the Art Center and Betsy’s artistic legacy and looks forward to granting this new award to artists annually.

The Main Line Art Center will host an artist talk and gallery tour on Friday, April 4 from 5:30 to 6:30 pm, followed by a public reception from 6:30 to 8:30 pm featuring samplings from the center’s wine sponsor, Barefoot Wine & Bubbly.  The artist talk, reception and gallery visits are free and open to the public. The gallery is open Monday through Thursday from 10 am to 8 pm, and Friday through Sunday from 10 am to 4 pm.  Additional programs for Imaginary Reality include an iPainting on the Go Workshop with Nic Coviello on Thursday, April 17 from 6 to 8:30 pm; Technology in Art: Visionary Influence, a free lecture with Tim Portlock on Monday, April 21 from 6 to 7:30 pm; and a Still Animation Workshop with Jenny Thwing on Thursday, April 24, from 6 to 8:30 pm.  For more information about these programs, including registration, visit or call 610.525.0272.

Colored with life experiences and the joy of studio practices, Nic Coviello’s goal is to provide the viewer with an alternate narrative on a commonplace subject.  Parklands, botanical forms, and animals provide the context for his work.  Coviello fuses traditional methods of drawing, painting, and printmaking with photographic and digital imaging techniques to get at an “elusive” real and a “concrete” imagined nature.  Appropriating photographic data and explorations in computer graphics complement his field drawing, painting, and collected fragments of nature.  Coviello creates background landscapes with painterly techniques and portrays the foreground figures with high-contrast black and white photographic elements.  Born in Connecticut, Coviello came to Philadelphia to study at the Pennsylvania Academy of the Fine Arts where he earned coordinated BFA and MFA degrees from the University of Pennsylvania.  He now lives and works in Philadelphia and has exhibited widely at venues including the Philadelphia International Airport, The Painting Center in New York, and the Korean University of the Arts in Seoul, Korea.  Coviello taught Digital Design as a Lecturer at the University of Pennsylvania’s School of Design and was an Artist Member and Board Member of the Nexus Foundation for the Arts from 2004 until 2009.

Tim Portlock’s lifelong interest in the dialogue between place and the formation of identity is the fuel behind his creative endeavors.  Educated primarily as a traditional visual artist, Portlock has worked in the past as a community-based muralist as well as a studio painter.  His current body of work includes large format print images created using 3D gaming technology to simulate real world and imagined spaces based on the Las Vegas strip and surrounding desert. Recent work also includes large, outdoor video projections onto buildings that create temporary public art.   Portlock received a BFA in Painting from the Kansas City Art Institute, an MFA in Art and Design from the University of Chicago, and an MFA in Electronic Visualization from the University of Illinois.  Portlock is currently an Associate Professor in the Film and Media Department at Hunter College (CUNY- New York City), and previously worked at the University of Paris-Sorbonne.  A 2011 recipient of a Pew Fellowship, Portlock has exhibited widely throughout the US and internationally including Ars Electronica in Austria, ISEA in Japan, and the Tate Modern as a member of the Artist Collective Vox Populi.

Jennie Thwing, Imaginary RealityJennie Thwing, My Black Hole:  Cold, Archival Pigment Print, 36” x 48”, © Jennie Thwing 2013

Jennie Thwing is a New York-based artist and film maker.  Using video, installation, and animation she creates imaginary narratives that reference her history, ideology, social context, family mythologies, and dreams.  Her subject matter ranges from miniature animated dioramas to historical reenactments.  All of her work involves the anthropomorphism of nature, refuse, and human environments.  Currently an Assistant Professor of Visual Communication at SUNY Farmingdale College as well as an Associate Professor of Art at Rowan University, Thwing received her BFA in Graphic Design at Tyler School of Art in Philadelphia, and went on to receive her MFA in Imaging and Digital Arts at University of Maryland. Her work has been widely exhibited in the US and abroad at venues including the Museum of Contemporary Art in Seattle, the Institute for Contemporary Art in Philadelphia, the Fondazion Mudima per l’Arte Contemporarnea in Milan, The Independent Museum of Contemporary Art (IMCA) in Cyprus and the New York Studio Gallery.  Thwing was also recently chosen as a Center for Emerging Visual Artists Fellow and a 2014 Queens Arts Fund Grant recipient.

Amie Potsic, curator of the exhibition, began her tenure as Executive Director of Main Line Art Center in July of 2012.  Prior to that, she served as Director of Gallery 339 and Director of the Career Development Program at the Center for Emerging Visual Artists (CFEVA) in Philadelphia where she curated exhibitions and planned professional development programming for emerging and professional artists. Potsic has curated over 70 exhibitions at venues including The Philadelphia Museum of Art, Pittsburgh Center for the Arts and Moore College of Art & Design. Potsic is also an established photographic artist who has exhibited her work nationally and internationally.  In addition, she is currently Chair of the Art In City Hall Artistic Advisory Board to the City of Philadelphia’s Office of Arts, Culture & the Creative Economy.

Main Line Art Center is a welcoming and inclusive creative home where everyone is encouraged to create, experience, and discover the value of art.  Committed to making art more accessible, the Art Center has over 75 years of experience presenting art programs for individuals of all ages and abilities, including a unique series of Accessible Art programs for children and adults with developmental and physical disabilities, at-risk youth, and low income families now celebrating their 50th anniversary.  Throughout the year, Main Line Art Center presents innovative, contemporary art exhibitions in their award-winning gallery, as well as exhibitions that celebrate community.  Last year over 16,000 people chose Main Line Art Center as their home for creativity.

Main Line Art Center is located at 746 Panmure Road in Haverford, behind the Wilkie Lexus dealership just off of Lancaster Avenue. The Art Center is easily accessible from public transportation and offers abundant free parking. For more information about Imaginary Reality or the Meyer Family Award for Contemporary Art, please visit or call 610.525.0272.

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2010 Philadelphia Open Studio Tours

2010 Philadelphia Open Studio Tours


2010 Philadelphia Open Studio Tours –  pdf

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