Sep 172026
 

Sir Lawrence Alma-Tadema, “A Reading from Homer” (1885) at the Philadelphia Museum of Art

While interest in Homer’s epic poem the Odyssey grew this summer with the release of Christopher Nolan’s film version, it is also one of the oldest and most popular works of literature in the Western canon. Over the years it has been referenced by many artists in painting, film, and works of literature. In addition, according to Merriam-Webster, there are even a few words in the English language that can trace their origins back to the Odyssey.

Currently on view at the Philadelphia Museum of Art, is Sir Lawrence Alma-Tadema‘s painting A Reading from Homer (1885).

From the museum about the work:

Here, a young poet crowned with a laurel wreath reads from Homer to an audience dressed for a festival. The setting is probably Greece toward the end of the seventh century BCE. The Greek letters in the upper right indicate that the place is dedicated to the poet.

Through attention to details such as architecture and dress, Alma-Tadema evokes scenes of everyday life in ancient Greece and Rome. However, his pictures are rarely entirely archaeologically accurate. For example, while he accurately rendered the ancient musical instrument on the left, a cithara, he also included a type of rose that did not exist before the nineteenth century.

Live readings of Homer’s works continue to this day. At the end of October, for example, the National Hellenic Museum in Chicago is hosting a marathon reading of the Odyssey taking place over two days.

Sep 162026
 

Sculptor Claes Oldenburg‘s Clothespin was installed across from City Hall in downtown Philadelphia in 1976. It was commissioned as part of the Redevelopment Authority’s Percent for Art program.

Two details about the 45-foot, 10-ton Cor-Ten steel sculpture may have you looking at it a bit differently. The first is it’s spring, which is meant to resemble the number 76, a reference to the signing of the Declaration of Independence in Philadelphia in 1776. The other is that Oldenburg was influenced by Constantin Brâncuși‘s The Kiss when creating this work. The Kiss is on view at the Philadelphia Museum of Art.

For more information about the sculpture and its history, this article on The Encyclopedia of Greater Philadelphia, is worth checking out.

 

Sep 082026
 

Located in Philadelphia SEPTA’s Suburban Station, my art gives me a voice by Philadelphia artist Lisa Kelley was created for Mural Arts Philadelphia in 2022.

More from Mural Arts:

The mural was inspired by the chirps of bluebirds, wrens, and chickadees that Kelley listens to when she walks in a park to clear her mind. Kelley hopes that the mural, which features suns, flowers, geometric shapes, and mandalas, is meant to evoke feelings of healing and growth and will uplift the spirits of people who see it.

The designs used in the mural are from printmaking workshops that Kelley led for participants of Mural Arts’ Color Me Back program, a same-day work and pay program in collaboration with the City of Philadelphia’s Department of Behavioral Health and Intellectual disAbility Services that combines participatory art-making and access to social services.

Another of her murals, Let Your Dreams Take Flight, is currently on view at Philadelphia International Airport in Terminal A. It is just one of the many works on display as part of Art at PHL, the airport’s Exhibitions Program.

Lisa Kelley at PHL

 

Aug 202026
 

Philadelphia artist Jim Houser created this mural, Wide Open, in 2019 for Mural Arts Philadelphia.

From Mural Arts:

Wide Open by artist Jim Houser features a design that speaks directly to the artist’s view of Philadelphia. Located in the Northern Liberties neighborhood, the mural’s themes include the concept of brotherly love, family and friends, a love of skateboarding and music, and the complex interaction of danger and beauty. The struggle of loss, hope and pride in where one lives intertwine in this striking mural.

His mixed media paintings, seen below, were also recently on view at Philadelphia’s Paradigm Gallery.

Work by Jim Houser at Paradigm Gallery in May of this year

You can find his most recent work on Instagram.

Aug 132026
 

“Lightning Strike Lamp”, 2025

Top: “Piano Shelf”, 2014, Lacquered mahogony, steel ; Bottom: “Wave Cabinet”, Lacquered Baltic birch, steel, glass

“Occupy Chair”, 2012

“IMAGINE Neon”, 2025, Neon tubing

Detail from wall of AI generated drawings behind “IMAGINE Neon”

Mixing art, design, and politics, Sebastian Errazuriz‘s exhibition Double Take at the Philadelphia Museum of Art is a lot of fun. On one side of the room a neon bolt of lightning repeatedly flashes against the wall, while on another neon letters alternate between “IMAGINE” and “AGI” (Artificial General Intelligence) illuminating AI-generated drawings based on his original sketches. There’s also uniquely designed furniture, lamps made using taxidermy chickens, chairs referencing the Occupy Movement, objects incorporating Greco-Roman statue head reproductions, and more, all encouraging visitors to think about nature, technology, and the world around them.

From the museum:

Sebastian Errazuriz (Chilean, born 1977) twists our typical expectations and experiences of using furniture, lighting, and everyday objects. Embracing humor and appropriation, his limited edition and one-of-a-kind pieces often have a subtext that goes beyond form or function, offering personal narrative, a political message, or cultural commentary. This mid-career survey presents over twenty years of a multi-hyphenate practice that gives design a conceptual, Surrealist slant.

Works featured in the exhibition span art, craft, design, and technology. His “kinetic” furniture, constructed from the early 2010s, is characterized by moveable parts – doors, drawers, and shelves that are repositionable, creating new configurations. Other works take nature as a source of inspiration or make new and surprising use of found objects, including vintage watches and taxidermy fowl. Also on display are furniture, mirrors, and other objects that the designer creates by scanning original Greco-Roman antiquities that are then digitally-manipulated and recast in poured marble. A newly commissioned fluorescent light explores Errazuriz’s fascination with, and apprehension about, the potential impact of Artificial General Intelligence on artists, designers, and culture more broadly.

The diverse works on view convey imagination and wit, while also bewildering those who encounter them. The pieces are meant to be lived with, but, at the same time, are provocations with an air of mystery around their function and meaning. Attesting to Errazuriz’s expansive definition of design, the works in this exhibition suggest alternate ways of seeing, thinking, and living.

The show is on view until 8/16/26.

 

Aug 042026
 

In Miguel Horn‘s 2021 artwork ContraFuerte, his figures, made from aluminum plates, appear to be holding up a bridge between two buildings. Located on Cuthbert Street, an alley off of 18th Street in downtown Philadelphia, it was created as part of the city’s Percent for Art program.

For additional information on the work, check out this article from WHYY.

 

Jul 282026
 

Betye Saar, “Takin’ A Chance on Luv”, 1984, pigment on cotton sateen, created in collaboration with The Fabric Workshop and Museum

Los Angeles artist Betye Saar passed away on Sunday, July 26th, at 99 years old, just a few days before her 100th birthday. Saar is best known for her assemblage pieces that confronted racism and sexism, often incorporating  spiritual and mystical elements into the work as well.

Takin’ A Chance on Luv, pictured above, was part of the group exhibition Some American Dreams at The Fabric Workshop and Museum in Philadelphia, which closed in June.

The short documentary below, created by Christine Turner for LACMA‘s Art+Film Initiative, features the artist at 93 discussing her work.

Jul 272026
 

Caproni Brothers, “The Boxer at Rest”, 19th century Painted plaster cast from the original bronze which was produced between the late fourth and second centuries BCE

Lisa Brice “Untitled”, 2025 Pigment and natural water-soluble binders on linen

Jeffrey Gibson, (l to r) “Power, Power, Power”, 2017, “People Like Us”, 2014, and “You Can Feel It All Over”, 2015, Repurposed punching bags, glass beads, artificial sinew

Rashid Johnson, “Self-Portrait Laying on Jack Johnson‘s Grave”, 2006, Durst Lambda print mounted on panel

Approaching the front steps of the Philadelphia Museum of Art, you will find people of all ages and backgrounds taking photos with the statue of Rocky out front, often imitating his famous pose. Through a variety of works from antiquity to the present day, Rising Up looks at the history of this statue, the meanings attached to monuments, and the allure of boxers and boxing culture.

From the museum about the exhibition:

Blending the worlds of art, sports, and popular culture, Rising Up takes on the life of monuments by exploring the meanings and mythologies of the Rocky statue. The exhibition looks to the statue of the most famous Philadelphian who never lived as a way to better understand our complex and vital relationships to our public monuments.

The statue first appeared on-screen in the Oscar-winning Rocky film series. The third installment, Rocky III (1982), featured the dedication of a monument that celebrated the boxer as both an underdog and a hero. The movie-made statue was placed outside the actual museum during filming, a dynamic blurring of art and life that continues to this day. Since that introduction, and through the statue’s departure and prolonged absence from the museum grounds to its prodigal return to the steps, the statue has sparked debate over its aesthetic value and its role in the city. Today, the power of the Rocky statue as a monument stems from its ability to summon public participation.

From antiquity to modernity, Hollywood to contemporary art, Rising Up spotlights both popular narratives and undertold stories surrounding the Rocky statue. Each gallery offers a response to the exhibition’s central question — why do millions of people visit the Rocky statue at the steps of the Philadelphia Museum of Art each year? — and further explores the relationship between art, boxing, and civic identity. It offers a renewed context to consider the statue through works and artifacts that reflect on the deep legacies of boxing monuments across time.

Rising Up marks the first time that the Rocky statue has been displayed inside the museum, explored alongside Philadelphia’s landmark boxing culture and multigenerational artists’ interpretations of sport and society. At its core, the exhibition looks at how monuments are made — by artists and by us — through the lens of the Rocky statue and the ways people engage, debate, and gather around this site of memory.

This exhibition closes on 8/2/26.

Jul 242026
 

As you approach the Calder Gardens building, you will first notice the gardens and, if you visit in spring, the flowers. Once inside you’ll find a selection of Alexander Calder‘s works, including a few of his paintings. The space is organized in a way that never feels crowded, encouraging visitors to look at the work from different angles or watch how some pieces move with the slightest change in the air around them.

For the month of July, Philadelphia residents can visit Calder Gardens and the Barnes (which is located across the street) for free.

About Calder Gardens from their website:

Calder Gardens is a new art institution dedicated to Alexander Calder (1898–1976), one of the most acclaimed and influential artists of the 20th century. Building on the artist’s enduring legacy, it is conceived as a place where an evolving interplay between art, architecture, nature, and programming encourages contemplation and self-discovery.

Set within a landscape featuring more than 250 varieties of plants in gardens conceived by Piet Oudolf, Calder Gardens’ 18,000-square-foot building, designed by Herzog & de Meuron, houses a rotating installation of artworks by Calder. Spanning the artist’s 50-year career and diverse bodies of work, the objects on view respond to architectural moments rather than art historical narratives. This selection of artworks slowly changes over time, echoing the natural rhythms of the seasons. Some will remain for years, while others are only on view for a few months, creating an ever-changing environment that encourages close looking and repeat visits.

In dialogue with Calder’s own experimental practice, programming at Calder Gardens presents performances, sonic experiences, screenings, lectures, and other events that connect the artist’s legacy of innovation to contemporary art. Emphasizing mindfulness and environmental awareness, Calder Gardens is a space that foregrounds the interconnectedness of all elements of life. Straying from fact-based learning, Calder Gardens offers daily walks that encourage personal introspection as visitors move through the building.

Calder Gardens is located on the Benjamin Franklin Parkway in the heart of Philadelphia, a city with deep connections to the Calder family across several generations. It extends this lineage to the present day and joins Philadelphia’s rich artistic and cultural communities.

Jul 232026
 

Along several walls at the Barnes, Native American (Ho-Chunk Nation/Pechanga Band of Luiseño Indians) artist Sky Hopinka‘s installation, Red Metal Dust, layers photographs and transparencies of a variety of landscapes with cut copper shapes to form dreamlike vistas.

About the work from the museum (in the artist’s words):

Red Metal Dust is a body of work that considers landscape as a place shaped as much by what remains as by what has been removed. Each panel layers photographic prints with transparencies of concurrent landscapes, allowing images to pass through and across one another rather than resolve into a single view.

Geometric silhouettes, cut into polished copper and placed over the image, follow the contours of the transparencies beneath them. These copper forms both interrupt and clarify the landscape, using the logic of the silhouette to define presence through reduction. The copper reflects light and the viewer’s image, bringing the body and present moment into the work.

The title draws from the Ho-Chunk way of describing copper, naming the material not as monument but as remainder-something carried, scattered, and endured. Here, copper becomes less a surface than a witness, resilient and reflective, shaped through contact rather than display. Across these works, landscape is approached as a layered field of return, where images accumulate, echo, and settle into one another over time.

For more information on the work, this interview with Hopinka from ARTNews is also worth checking out.

Below is another section located on a different wall.

Red Metal Dust is on view until January of 2027. The Barnes is also free for Philadelphia residents for the month of July.