Eduardo Abaroa, Hombre que cae (Falling Man), 1993-95. Photo by Kait Privitera.
Audiences take in Liberty To Go To See, 2015, at Cliveden’s Main House, an interactive dramatic event based on the Chew Family Papers, produced by the New Freedom Theatre and featuring a script created through a year-long partnership between Cliveden and the Philadelphia Young Playwrights.
Installation view of Temple Contemporary's reFORM exhibition, 2015. Photo by Constance Mensh.
Several ongoing and recently completed Center-funded Exhibitions & Public Interpretation projects have received national and regional media coverage in recent months.
The Galleries at Moore College of Art and Design's exhibition Strange Currencies: Art and Action in Mexico City, 1990-2000 closed in December with coverage in various print and online publications. The Philadelphia Inquirer emphasized that Strange Currencies was "the first exhibition to thoroughly examine...Mexico City's cultural landscape through the works of artists who lived and worked there in the 1990s." Hyperallergic published two reviews of the exhibition, writing in one instance that the installation offered "a self-aware, radical political statement on the often closed nature of the art world." and stating in a second article that the exhibition "remind[s] viewers of the importance of making art outside of established methods or venues."
Coverage of Cliveden of the National Trust's ongoing historical interpretation project Cliveden's Living Kitchens focused on the project's "Kitchen Conversations" series. The Philadelphia Daily News described the series as "an opportunity to harness momentum... [through] events designed to explore history, both local and national, through the prism of food." For The Philadelphia Inquirer, Stephen Salisbury highlighted a "Kitchen Conversation" featuring Joseph McGill, founder of The Slave Dwelling Project, Inc., who slept in the old kitchen quarters at Cliveden, writing, "for six years, Cliveden staff and board members have dug into the dark parts of the house's past, seeking to shine a light and bring out a more complete story of American origins and the role played by slavery."
Temple Contemporary's exhibition reFORM, on view through May 2016 at Tyler School of Art, continues to garner national media attention. The interactive installation was included in a think-piece in The Atlantic about artists' creative responses to public school closings in Philadelphia, Chicago, and Detroit. Commissioned artist and Pew Fellow Pepón Osorio told Jacoba Urist, "reFORM is more than art—it's both a place for displaced students to gather and define their future on their own terms and, hopefully, a catalyst for Philadelphians to discuss their city's wave of school closures."
Historic Germantown's community engagement project Elephants on the Avenue: Race, Class, and Community has received press coverage for its hands-on workshops led by cross-disciplinary artists, including Pew Fellows Yolanda Wisher, Sonia Sanchez, and Benjamin Volta, among others. WHYY described how many participants "became very moved upon learning that their own stories have value," while The Philadelphia Inquirer reported, "by creating a safe environment to discuss the elephant in the room... [the project] could help neighbors begin to see the light at the end of the tunnel."
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