Category Archives: Philadelphia Museum of Art

Cities

Untitled (Cairo, Egypt), 2002. Akinbode Akinbiyi, Nigerian (born England), born 1946. Gelatin silver print, approx: 20 1/16 × 24 inches (51 × 61 cm), Courtesy of the artist, © Akinbode, Akinbiyi.

Creative Africa, Three Photographers/Six Cities

Through September 25, 2016

Ruth and Raymond G. Perelman Building

The Philadelphia Museum of Art is presenting an exhibition dedicated to several important photographers, little-known in the United States, who make African cities their subjects. Three Photographers/Six Cities takes an in-depth look at the work of artists Akinbode Akinbiyi (Nigerian, born in England), Seydou Camara (Malian), and Ananias Léki Dago (Ivorian). Each has produced powerful series of images that portray African places in the midst of change or on the cusp of it. While their approaches vary, they are united by their concern for documentation and an intense layering of the past and present within their works.

Untitled (Lagos, Nigeria), 2004. Akinbode Akinbiyi, Nigerian (born England), born 1946. Inkjet print, approx: 33 7/16 × 25 9/16 inches (85 × 65 cm), Courtesy of the artist, © Akinbode, Akinbiyi.

Peter Barberie, the Museum’s Brodsky Curator of Photographs, said: “I brought the work of these three together because as a group they compel us to think about African cities in intriguing ways, juxtaposing one period of time against another, documenting daily life in the context of sprawling growth and often with an acute awareness of potential loss or threat. I also wanted to show their art in sufficient depth, so that audiences could come to know their work. Each photographer is highly accomplished, and deserves to be better known in the United States.”

Untitled (Lagos, Nigeria), 2004. Akinbode Akinbiyi, Nigerian (born England), born 1946. Gelatin silver print, approx: 24 × 20 1/16 inches (61 × 51 cm), Courtesy of the artist, © Akinbode, Akinbiyi.

Akinbode Akinbiyi is a self-taught photographer who has traveled extensively in Africa, especially in its largest and fast-growing cities, often taking months or years to produce a single series. In the exhibition, he is represented by his black-and-white photographs of Egypt and Nigeria. The seven works from his Masr portfolio capture scenes of Cairo in orchestrated masses of light and dark and through interlocking open and congested spaces: the pyramids appearing through metal fencing against sun-blanched sand; a crowded bus hurtling past buildings bearing huge commercial billboards; a crowded museum in which visitors back up against a glass case, all but ignoring the ancient stone figure it contains. On an opposite wall is a gridded arrangement of 18 square photographs from Akinbiyi’s All Roads series. These scenes of Lagos juxtapose open and tight spaces as well, punctuated sometimes by the visual clutter of urban streets and the clamor of random signage: a wall plastered with posters declaring war against marital problems in Lagos, a jumble of cars and heaps of trash, and such scenes of beauty as five boys playing in the sand as foamy water washes onto a beach.

CBD, Johannesburg, from the series Shebeen Blues, 2007 (negative); 2015 (print). Ananias Léki Dago, Ivorian, born 1970. Gelatin silver print, approximate: 24 × 20 inches (61 × 50.8 cm), Courtesy of the artist, © Ananias Léki Dago.

Orlando East, Soweto, from the series Shebeen Blues, 2007 (negative); 2015 (print). Ananias Léki Dago, Ivorian, born 1970. Gelatin silver print, approximate: 24 × 20 inches (61 × 50.8 cm), Courtesy of the artist, © Ananias Léki Dago.

Alexandra Township, from the series Shebeen Blues, 2008 (negative); 2015 (print). Ananias Léki Dago, Ivorian, born 1970. Gelatin silver print, approximate: 24 × 20 inches (61 × 50.8 cm), Courtesy of the artist, © Ananias Léki Dago.

Ananias Léki Dago, also a street photographer working with black-and-white film, is represented by works he took in Mali, Kenya, and South Africa. Included are prints from his Bamako Crosses series that hone in on wheelbarrow handles, a cruciform shape that he transforms into an urban street motif, seen even in a chance reflection in a puddle. Works from his Mabati series, devoted to images of Nairobi, focus on the distinctive corrugated metal used in buildings all over that city. They convey a play of textures and patterns in which the human presence is often elliptical or seen partially, framed within windows or masses of light and dark. Also included are four works from a series inspired by shebeens, underground bars that were illegal during apartheid years, which became sites for activist gatherings, and formed the subject of a book by the artist. Called Shebeen Blues, the series evokes elements of life in the former segregated townships, such as Soweto, that now make up a part of Johannesburg.

Untitled, 2009. Seydou Camara, Malian, born 1983. Inkjet print, Image: 13 5/8 × 18 1/8 inches (34.6 × 46 cm)

Untitled, 2013. Seydou Camara, Malian, born 1983. Inkjet print, Image: 13 5/16 × 20 inches (33.8 × 50.8 cm)

Seydou Camara, who turned his attention to photography after earning a law degree in 2007, is represented by eleven digital color inkjet prints from his Manuscripts of Tombouctou series. These works reflect his devotion to preserving the centuries-old, treasured writings that face potential destruction in a land riven by rebel groups. The most documentary in spirit of the three artists, Camara conveys the fragility of these volumes and the beauty of their cursive script in all their rich color and mottled tones. Rather than focusing on more conventional markers of urbanization, such as a densely built environment or a concentration of commercial activities, they evoke other characteristics that are essential to Tombouctou’s identity, namely the city’s age and its continuing role as a center of Islamic scholarship. His series records not only texts, but efforts to conserve and transcribe them, and mixes those pictures with views of mosques, whose mud walls provide slivers of shade for people seeking relief from the sun.

Curator: Peter Barberie, The Brodsky Curator of Photographs, Alfred Stieglitz Center

Three Photographers/Six Cities is one of five Creative Africa exhibitions in the Perelman Building this season. The accompanying programs feature a broad spectrum of the arts from across the African continent. The exhibitions feature historical works of art as well as contemporary fashion, photography, design, and architecture. Each calls attention to the continuities and differences between African art forms over the centuries.

Related exhibitions are:

Look Again: Contemporary Perspectives on African Art, a major exhibition drawn from the collection of the Penn Museum (May 14–December 4)

Vlisco: African Fashion on a Global Stage, exploring the celebrated company’s most enduring designs, examines the process of creating a new textile and showcases a selection of contemporary fashions by African and European makers as well as Vlisco’s in-house design team (April 30, 2016–January 22, 2017)

The Architecture of Francis Kéré: Building for Community, featuring a site-specific, immersive environment designed by this world-renowned architect from Burkina Faso (May 14–September 25)

Threads of Tradition, focusing on the traditional patterns in West and Central African textiles and the techniques used to create them, including strip weaving, resist dyeing, piecing, appliqué, and embroidery (April 30, 2016–January 2017)

Related events range from school programs and artists’ residencies to Art After 5 live performances and the Museum’s summer-long Art Splash family festival, which runs from

July 1 through September 5

Social Media

Twitter/Facebook/Instagram/Tumblr/YouTube @philamuseum

#creativeafrica

The Philadelphia Museum of Art is Philadelphia’s art museum. A place that welcomes everyone. A world-renowned collection. A landmark building. 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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Pop

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International Pop, Philadelphia Museum of Art

Through May 15, 2016

The Philadelphia Museum of Art is presenting a groundbreaking survey of an important movement that explores a global phenomenon that was shaped by artists working in many different countries throughout the world. International Pop features paintings, sculpture, assemblage, installation, printmaking, and film by eighty artists, drawn from public and private collections, and offers an intriguing new look at a subject that is familiar. Viewing Pop Art through a much wider lens, it is sure to delight audiences and broaden their understanding of one of the most significant chapters in the history of contemporary art. This is the first traveling exhibition in the United States to present a comprehensive account of the development of Pop Art during the 1960s and 1970s. The Philadelphia Museum of Art is the final venue and the only East Coast presentation.

Hers is a Lush Situation, 1958, Richard Hamilton, (Pallant House Gallery, Chichester, UK, Wilson Gift through the Art Fund, 2006)

Timothy Rub, the George D. Widener Director and CEO of the Philadelphia Museum of Art, stated: “Pop was one of the most iconic art movements of the second half of the twentieth century. This exhibition is an ambitious effort to explore its emergence and impact far beyond the borders of the United States and Britain. We are delighted that in Philadelphia we are adding to the exhibition some important works from private collections and our own holdings of contemporary art.”

Oiran, 1968, by Ushio Shinohara (Museum of Contemporary Art Tokyo) © Ushio and Noriko Shinohara

Highlights of International Pop include works of major British and American artists presented in juxtaposition with works by artists from other countries that were centers for the development of Pop Art. Hers is a Lush Situation, a work painted in 1957 by one of the seminal figures of this movement, the British artist Richard Hamilton, offers a witty commentary on the advertising adage that sex sells. It treats the forms and shapes of a Buick as an evocation of the human body, punctuated by a cut-out of Sophia Loren’s lips. Other artists would look at this issue in a different light. In O Beijo (The Kiss) of 1967, for example, the Brazilian Waldemar Cordeiro turns the lips of Bridget Bardot into a mechanized image of a kinetic sculpture, fusing pop culture and emerging computer technology. By contrast, in Ice Cream, the Belgian artist Evelyne Axell paints a woman licking an ice cream cone from a radically feminized perspective, at once quoting and challenging notions of sexual desire.

Dalila doble plataforma, 1967, by Dalila Puzzovio (Mock Galeria, Buenos Aires)

Be an Outlaw, Be a Hero (Seja Marginal, seja herói), 1967, by Hélio Oiticica (Philadelphia Museum of Art: Purchased with funds contributed by the Committee on Modern and Contemporary Art)

A key work shown only in Philadelphia is Jasper Johns‘s Flag, 1958, in which the artist represents the iconic image of the American flag in a literal way and at the same time utilizes it as a vehicle for exploring new possibilities for contemporary painting. Other works, such as Antônio Henrique Amaral‘s Homenagem ao Século XX/XXI (20th/21stCentury Tribute), 1967, suggest that such an image could not be separated from the dominance of America as a cultural power in Brazil at this time. Ushio Shinohara‘s Coca-Cola Plan (After Rauschenberg) of 1964 reflects the complex relationship between Japanese artists and their American counterparts, whose work they largely experienced through print media. Also seen only in Philadelphia are Mimmo Rotella’s The Hot Marilyn, 1962—a decollage of an Italian movie poster shredded from wear on the street—and Ed Ruscha’s Felix, 1960, an early example of his work in the idiom of Pop Art, of which he was one of this country’s pioneering figures.

Woman Descending the Staircase (Frau die Treppe herabgehend), 1965, by Gerhard Richter (The Art Institute of Chicago; Roy J. and Frances R. Friedman Endowment: Gift of Lannan Foundation) © Gerhard Richter

Foodscape, 1964, by Erró, Oil on canvas, (Moderna Museet, Stockholm)

LOOK! 1964, by Joe Tilson (Walker Art Center, Minneapolis: Art Center Acquisition Fund, 1966) © Artists Rights Society (ARS), New York / DACS, London

Emerging first in the United Kingdom and the United States, Pop Art soon become an international phenomenon, finding expression in a bewildering variety of different forms and media. It was a product of a revolutionary social and political era as well as a response to the proliferation of consumer culture in the decades after World War II and the media—magazines, television, and motion pictures—that fueled its growth. The exhibition gives visitors a rare opportunity to see Pop Art in a new light. It examines the factors that shaped artistic activity in the social democracies of Europe, the military regimes of Latin America, and Japan in the aftermath of U.S. occupation. It includes sections closely examining vital hubs of Pop activity in Great Britain, Brazil, Argentina, Germany, the United States, and Japan. International Pop also brings together works from diverse geographic regions and different periods during the development of the movement to explore common themes and subjects.

Epiphany, 1964-1989, by Richard Hamilton (Collection of Rita Donagh), © Artists Rights Society (ARS), New York / DACS, London

Ice Cream, 1964, by Evelyne Axell (Collection of Serge Goisse, Belgium)

Standard Station, Amarillo, Texas, 1963, by Edward Ruscha (Hood Museum of Art, Dartmouth College, Hanover, New Hampshire: Gift of James Meeker, class of 1958, in memory of Lee English, Class of 1958, scholar, poet, athlete and friend to all) © Edward Ruscha, courtesy Gagosian Gallery

Among the other artists featured in International Pop are James Rosenquist, Claes Oldenburg, Jim Dine, Rosalyn Drexler, and Andy Warhol (United States); Peter Blake, and Pauline Boty (Great Britain); Konrad Lueg, Sigmar Polke, and Gerhard Richter (Germany); Keiichi Tanaami, and Genpei Akasegawa (Japan); Antônio Dias (Brazil); and Marta Minujín, Dalila Puzzovio, and Edgardo Costa (Argentina); Sergio Lombardo and Mario Schifano (Italy); and Yves Klein, Niki de Saint Phalle, and Martial Raysse (France).

Still Life #35, 1963, by Tom Wesselmann (Collection of Claire Wesselmann) © Visual Artists and Galleries Assoc., Inc. (VAGA), New York

Look Mickey, 1961, by Roy Lichtenstein (National Gallery of Art, Washington, Gift of Roy and Dorothy Lichtenstein in Honor of the 50th Anniversary of the National Gallery of Art

Zone, 1961, by James Rosenquist (Philadelphia Museum of Art: Purchased with the Edith H. Bell Fund, 1982-9-1) © Visual Artists and Galleries Assoc., Inc. (VAGA), New York

Curator: Erica F. Battle, The John Alchin and Hal Marryatt Associate Curator of Contemporary Art

Support: International Pop is organized by the Walker Art Center. This exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities.

Major support for the exhibition is provided by the Henry Luce Foundation, the Prospect Creek Foundation, the Terra Foundation for American Art, The Andy Warhol Foundation for the Visual Arts, and the Margaret and Angus Wurtele Family Foundation. Additional support is generously provided by Judy Dayton, Lyn De Logi, Marge and Irv Weiser, and Audrey and Zygi Wilf.

In Philadelphia, the exhibition is supported by the Estate of Phyllis T. Ballinger, the Women’s Committee of the Philadelphia Museum of Art, The Annenberg Foundation Fund for Major Exhibitions, The Laura and William C. Buck Endowment for Exhibitions, the Roy Lichtenstein Foundation, and the Japan-United States Friendship Commission. Additional generous donors include John Alchin and Hal Marryatt, Mitchell L. and Hilarie L. Morgan, Isabel and Agustín Coppel, Jaimie and David Field, Marsha and Jeffrey Perelman, and Lyn M. Ross.

Corporate support generously provided by RBC Wealth Management.

The Museum gratefully recognizes exhibition media partner Time Out.

Publication: The exhibition is accompanied by a fully-illustrated catalogue. It is the first major survey to chronicle the emergence and development of Pop art from an international perspective, focusing on the period from the 1950s through the early 1970s. Including original texts from a diverse roster of contributors, the catalogue offers important new scholarship on the period. The volume includes some 320 illustrations, including full-color plates of each work in the exhibition, integrating many classics of Pop art with other rarely seen works. Published by the Walker Art Center, the hardbound 368-page volume is distributed by Distributed Art Publishers.

“Passport to Pop” Public Programs: In Philadelphia, the exhibition will be accompanied by Passport to Pop, a series of public programs including artists’ talks, lectures, panel discussions, and special tours. In addition, the Philadelphia Museum of Art is collaborating with International House, in West Philadelphia, and Ed Halter of Light Industry, New York, to host eight nights of Pop art films from February to May.

Social Media:

Facebook and Twitter: philamuseum

Tumblr: philamuseum

YouTube: PhilaArtMuseum

Instagram: @philamuseum

The Philadelphia Museum of Art is Philadelphia’s art museum. We are a landmark building. A world-renowned collection. 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. Search engine optimization and Photoshop by DoN Brewer.

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Inspiration

Looking at Other Artists for Inspiration

by Robert Bohne’

I discovered long ago in my career as an artist that painters, just like writers, can suffer from what I refer to as painters block. Trust me on this. Plenty of people have written on this subject, and what works for me may not necessarily work for you, but I’d like to share what I’ve found to be a very effective way to, not only work through this issue, but to push your work to the next level. And it’s totally painless. As a matter of fact, it’s actually fun.

I, like most if not all artists have times when I just can’t seem to produce. My solution is something that came naturally to me, and it’s quite possible that you deal with this issue the same way that I deal with it. A simple trip to a museum. If you’re lucky like me, you have a wide variety of museums in your area to choose from. It doesn’t have to be a major museum. As a matter of fact, some of the smaller museums offer an environment very conducive for an artists to relax and to meditate on the works of those who are considered to be the best of the best. Why a museum instead of a gallery? Galleries are great, and now and then you will find an exhibit of an exceptional artist who’s work you can relate to, but why not set your sites high?

Will you be able to learn more from studying the works of an up and coming landscape painter or from studying a Daniel Garber? Now you could argue that at one time, Garber was an up and coming landscape painter too. But the idea here is to look at the best of the best. If you’re fortunate enough to be in an area rich with museums, I would suggest that you find a specific artist, style or genre that you are interested in, and focus on that. For example, I’m interested in representational work, with a focus on landscape and cityscape. For representational landscape, I can visit the Brandywine River Museum. There I can study Garber, The Wyeth’s, William Lathrop, Redfield, and a host of others who’s work is good enough to be included in the worlds greatest collections.

Looking at Other Artists for Inspiration, Robert Bohne

The Poetry of Nature: A Golden Age of American Landscape Painting at Brandywine River Museum of Art, March 19, 2016 to June 12, 2016, Louisa Davis Minot (1788-1858)

I study the technique, the composition, the palette, I even study the matting and framing of works. After all, presentation should not be overlooked. Keep in mind that this works for any type of art. If your style is similar to Paul Cézanne, go to the Barnes Foundation. Marcel Duchamp? Go to PMA. The idea here is to study the work of those who inspire you.

There are other way’s of doing this too. A good collection of books on your favorite artists is always a good place to start. And let’s not forget a search of Google Images. I was recently studying the works of Frederick Mulhaupt, a turn of the century landscape painter who’s work I have always admired, in an attempt to discover what it was that made so many of his paintings appealing to me. Using the Google image search, I was able to see pages and pages of Mulhaupts, and I discovered a common denominator. The use of strong diagonals in his compositions. Something that I could look for in nature when choosing a scene to paint, and something that I can use when composing a painting.

And last, but certainly not least, you should surround yourself with art that you love. And this doesn’t have to cost a fortune. I’ve built a sizable collection of beautiful and inspirational artwork on a budget. Much of it bought at auction and at thrift stores. I’ve learned from years of experience that you should buy what looks to be exceptional work, regardless of whether or not you recognize the name of the artist. Quite often I buy works that are unsigned, and quite often I’ll find a signature or some other identifying marks that will help in identifying the artist. If it’s affordable and it inspires you, buy it. Even if it’s just a good reproduction.

Unsigned drawing bought for $20 at auction. Signature found on back – Harry Becker (British 1865 – 1928), Collection Robert Bohne’

To sum it up, most of the accomplished artists that I’ve studied with have reached the same conclusion. That the most important thing an artist can do to advance his or her artistic ability, is the constant analytical study of great works of art.

Paint on. Robert Bohne’

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Philazilla

Zo

Art of the Zo: Textiles from Myanmar, India, and Bangladesh, Philadelphia Museum of Art

The Philadelphia Museum of Art presents an exhibition of woven textiles made by the Zo peoples of South Asia, including works that range from ceremonial tunics and wrap skirts to mantles, capes, blankets, and loincloths. Art of the Zo: Textiles from Myanmar, India, and Bangladesh features traditional weavings worn for daily life and ceremonial occasions, such as weddings, funerals, and feasts. The exhibition comprises works from the Museum’s collection of costume and textiles, supplemented by gifts and loans from David W. and Barbara G. Fraser, coauthors of Mantles of Merit: Chin Textiles from Myanmar, India, and Bangladesh (2005).

Art of the Zo, Philadelphia Museum of Art, Haka High-Ranking Man’s Mantle (Can-lo Puan), 1900–40, Myanmar (Burma), Chin State (Purchased with funds from the proceeds of the sale of deaccessioned works of art, 2006-57-1)

The exhibition showcases the patterns, techniques, and local variations that contribute to the beauty and craftsmanship of these woven treasures. Zo weavers create textiles that vary from unpatterned, indigo-dyed cloth and simple, colorful stripes to complex weaves that could be mistaken for embroidery. Among the highlights is a cotton blanket produced in a warp-faced weave around 1900 that would have been used in ceremonies for the sacrifice of a mithan, a semi-domesticated, ox-like animal. Also included is a Dai woman’s gray and white wedding blanket, woven between 1920 and 1960, which would have been created for a bride by her mother, along with shoulder cloths, decorated with glass beads and metal bells, which could double as baby carriers. A variety of men’s loincloths are on display as well, woven of cotton and silk.

Art of the Zo, Philadelphia Museum of Art, Lauktu Woman’s Head Wrapper (Tonpauk La), 1910–20, Myanmar (Burma), Rakhine State (Purchased with the Stella Kramrisch Fund, 2006-1-23)

In addition to textiles, various adornments are featured in the exhibition, among them earrings, bracelets, and necklaces made of metals, glass, and mirrors. The exhibition includes an example of the back-tension looms made of bamboo rods and wooden sticks that are traditionally employed by the Zo peoples to produce their fabrics. The simple loom is shown with a partially woven cloth next to a finished example from the Museum’s collection to offer insight into the weaving techniques. A video presentation, photographic details of selected works, and graphics of specific weave structures further demonstrate the virtuosity of Zo skills.

Art of the Zo, Philadelphia Museum of Art, Laytu Man’s Tunic (Khrangimm), 1920–40, Myanmar (Burma), Chin or Rakhine State (Purchased with the Stella Kramrisch Fund, 2006-1-18)

The Zo peoples, of Tibetan-Burmese origins, have lived for hundreds of years in mountainous regions of South Asia. They comprise about fifty linguistic groups, culturally related through affinities of language, the values surrounding their textiles, and the structure and technique of their weavings. Prior to the arrival of missionaries in the mid-1800s, they worshiped ancestral spirits and spirits dwelling in nature. Today most are Christian. Encouraged by missionaries to give up their traditional textiles, today Zo weavers continue to produce these culturally important textiles and frequently sell them as collectibles.

Art of the Zo, Philadelphia Museum of Art, Khami Woman’s Breast Cloth (Akhen), 1920–50, Myanmar (Burma), Rakhine State (Purchased with the Stella Kramrisch Fund, 2006-1-6)

In Zo communities, textiles have long conferred status on the weaver and document the wearer’s merit in this life and in the afterlife. The textiles are woven exclusively by women and are prized as the highest form of art. The exhibition explores how these works are made and worn, and features early to mid twentieth-century examples from specific localities and cultural divisions, such as the Northern Chin; Southern Chin; Ashö; and Khumi, Khami, and Mro. Although today most Zo people increasingly adopt Burmese and western attire, the weaving traditions are being preserved through the efforts of textile experts like Pa Mang, Nu Shwe, and Mai Ni Ni Aung, who have engaged master weavers to produce contemporary pieces for sale and to train the next generation of weavers. Some of these are available in the Museum Store.

Art of the Zo, Philadelphia Museum of Art, Utbu Woman’s Mantle (Pachang Sungkyar), 1930–80, Myanmar (Burma), Magwe Division, Sedouttaya Township (Gift of David W. and Barbara G. Fraser, 2014-70-23)

David Fraser stated: “These extraordinary textiles offer us rare and exceptional beauty. As records of the artistic traditions that illuminate Zo values, they also are highly valuable in preserving a living culture. Among the Zo, men create the looms, and they also make utilitarian baskets. The women create the art and they are much respected for it.”

Art of the Zo, Philadelphia Museum of Art, Haka Woman’s Ceremonial Tunic (Kor), 1940–70, Myanmar (Burma), Chin State (Purchased with funds from the proceeds of the sale of deaccessioned works of art, 2006-57-5)

Support

Support for this exhibition is provided by The Coby Foundation, Ltd.

Curators

Dilys E. Blum, The Jack M. and Annette Y. Friedland Senior Curator of Costume and Textiles, with consulting curators David and Barbara Fraser

Location

Joan Spain Gallery, Perelman Building, ground floor, The Philadelphia Museum of Art

About David and Barbara Fraser

David W. and Barbara G. Fraser have been studying the artistry, structure, and cultural importance of Zo textiles for fifteen years. Their book, Mantles of Merit: Chin Textiles from Myanmar, India, and Bangladesh, won the Millia Davenport Publication Award of the Costume Society of America and the R.L. Shep Book Award of the Textile Society of America. Their work also garnered the Ancient & Modern Prize. They have curated exhibitions of Zo textiles at the Textile Museum in Washington, D.C., the University of Pennsylvania’s Arthur Ross Gallery, and Denison University, and David Fraser has co-curated an exhibition at Haverford College. Barbara Fraser is a member of the Advisory Council of the Textile Museum. A retired financial services attorney, she is a graduate of Bryn Mawr College and Emory University Law School. David Fraser is a member of the Costume and Textiles Advisory Committee of the Philadelphia Museum of Art. He is a research associate at the Textile Museum, a consulting scholar at the University of Pennsylvania Museum of Archaeology and Anthropology, and a master artisan of the Pennsylvania Guild of Craftsmen. A former president of Swarthmore College, he is a graduate of Haverford College and Harvard Medical School.

Art of the Zo, Philadelphia Museum of Art, Mizo Woman’s Ceremonial Wrapped Skirt (Puan Laisen), 1950–70, Myanmar (Burma), Northern Chin State or India, Mizoram (Gift of David W. and Barbara G. Fraser, 2014-70-25)

Exhibition hours

Tuesday–Sunday: 10:00 a.m.–5:00 p.m.

Social Media

Facebook and Twitter: philamuseum ; Tumblr: philamuseum ; YouTube: PhilaArtMuseum ; Instagram: @philamuseum

The Philadelphia Museum of Art is Philadelphia’s art museum. We are a landmark building. A world-renowned collection. 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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