Apr 092026
 

Thea Abu El-Haj, “Architecture of Exile”, 2023, oil on board

Rayan Elnayal, “The courtyard lit up-Al Hoash Nawar”, 2023, digital print

Shira Walinsky’s installation

For This Place Meant at The Delaware Contemporary, artists Thea Abu El-Haj, Rayan Elnayal, and Shira Walinsky each present work that reflects aspects of what home means to them.

From the museum about the exhibition-

This Place Meant explores how three artists think about and imagine home when they are far from it. Each artist explores their lived or past relationship with the place they call home and where they are now. Thea Abu El-Haj remembers the home she once knew, Rayan Elnayal imagines a home she hopes to know, and Shira Walinsky shares the home she knows with new neighbors. If you were forced to leave your home, whether to be closer to family, to find a better life, to escape natural disasters or political trouble, how would you share memories from where you once lived? What parts of that place would you describe: the colors, the smells, the sounds?

We hope you tell them what that place meant to you.

Below are some additional works and the artist bios from The Delaware Contemporary’s website.

Paintings by Thea Abu El-Haj

As a Palestinian American artist, Thea’s work excavates personal and collective narratives of loss, exile, and resistance, even as it celebrates the beauty and joy around us. She is drawn to the imprint of human history on the natural landscape. Growing up in the Middle East, the colors, quality of light, and traces of millennia of human presence continue to resonate through her work, even as the landscapes of the Northeastern U.S. where she has lived her adult life influence what she paints. Buildings and stone walls in the process of decay; light coming through dark and dark through light; the quality of color at different times of day are all sources for her work.

Digital prints by Rayan Elnayal

Rayan Elnayal is a Sudanese artist, designer, and educator based in London, with a background in architecture. In 2020, she transitioned from traditional practice to an alternative one that fosters a more equitable and creative approach to design but also nurtures her artistic pursuits. She is also the co-founder and director of Space Black, a collective of Black professionals in the built environment, dedicated to imagining alternative spatial futures for marginalised communities.

Her pieces invite viewers to step into these imagined spaces and explore them. Her work challenges us to reflect on our personal attitudes toward futurism and futuristic aesthetics, while reminding us that our envisioned future built environments can honour our heritages, communities, and shared joy.

Shira Walinsky is an interdisciplinary artist and teacher. Her work centers on people and places in the City of Philadelphia. She has worked in Philadelphia for 20 years on murals, paintings, photography, films and other public participatory work. The map can be a portrait of places and the face a map of our experiences. She is interested in how the vibrant and the sensory can amplify the stories of people and place. This manifests in bus wraps, films, photography, painting and murals. In 2012 she co-founded Southeast by Southeast with Mural Arts Philadelphia. Southeast by Southeast is a community space co-created with social workers and artists and community leaders for and with refugee and immigrant communities. Shira strives to create innovative projects which elevate the resilience of immigrant and refugee stories.

This exhibition, part of the museum’s Winter/Spring exhibitions, closes on 4/26/26.

Mar 262026
 

Ava Blitz created this glass mosaic, Pink, in 2012 for Philadelphia International Airport. It is part of Philadelphia’s Percent for Art Program.

From Art at PHL-

Philadelphia artist Ava Blitz works in various artistic disciplines including sculpture and photography. In either medium, Blitz is inspired by nature and natural forms. In her sculptural work, she is known to mass similar objects together to suggest continual growth and to emulate the abundance of repetitive forms found in nature. Her sculpture is often large-scale and abstract with minimal detail to capture nature’s basic essence and to encourage the viewer’s imagination. Blitz also photographs nature, usually imagery that she has taken while on walks near her home. The photographs, typically of trees, feature variations of dense, lush foliage. Using digital photography, Blitz is able to heighten the color and alter the imagery to emphasize the beauty and mystery that inspires her artwork.

In Pink, Blitz has incorporated her photography and her interest in nature, abstraction, and repetition to create a glass tile mosaic. She describes the artwork as “playing with the edge between realism and abstraction to create a magical forest or garden – a virtual reality that viewers can enter, explore, and experience on multiple levels.” Seen from a distance, the branches and pink blossoms are recognizable. Yet up close, the tree dissolves into an abstraction of tactile, colorful, iridescent glass tiles.

Mar 262026
 

Sarah Zwerling‘s digital collage Hamilton Street, Philadelphia, is on view at the Philadelphia International Airport as part of their exhibition programming.

From Art at PHL’s website–

Philadelphia artist Sarah Zwerling was invited to create a site-specific artwork installed directly on two interior glass enclosures located in Terminal A-East. Zwerling, whose work often features nature and architectural structures, has combined these influences as she has re-imagined her neighborhood street — an area in West Philadelphia characterized by its abundance of twin homes. Using digital photography, Zwerling focused on the rooflines of the Hamilton Street homes in combination with various trees found throughout nearby Fairmount Park. The imagery lines both sides of the concourse similar to the experience of walking along a narrow residential street like Hamilton. Zwerling has emphasized and altered aspects of the homes and the trees, even adding stylized blossoms and birds to animate the landscape and enhance the overall beauty and sense of wonderment.

Mar 132026
 

Today’s flashback is to Davina Semo‘s public art installation Reverberation in Brooklyn Bridge Park. Curated by Daniel S. Palmer and organized by Public Art Fund, the sculptures were on view from August 2020 until April of 2021.

From Public Art Fund about the work-

A ringing bell organizes our civic life, inviting us to come together in public space. Its unmistakable sound marks the hours, calls us to assemble, alerts us to danger, and announces momentous occasions. These and other modes of public address can unify communities and define the auditory landscape of our city, even when all else is silent and still.

Davina Semo (b. 1981, Washington, DC) has created five cast-bronze bells to be rung by visitors in the Brooklyn Bridge Park, recalling the maritime communication once common at this waterfront site. While their percussive function is familiar, the traditional bell form has been reimagined by the artist as an elongated streamlined sculpture that dangles aloft from a heavy industrial galvanized steel frame. The holes she has drilled through each bell create constellations of light in their darkened interiors and staccato patterns on their exterior shells. These arrangements give them unique identities that are characterized through their evocative titles: Reflector, Singer, Dreamer, Listener, and Mother. Their distinctive voices are also expressed in the subtle nuances in their tones when rung.

Semo’s bells are coated with a lustrous pearlescent paint that glows hot orange to evoke the international color of urgent alarm—meant to heighten our attention in precarious times. During this turbulent year, auditory interventions have characterized our collective experience, whether through the evening cheers for essential workers or the chanting voices of protesters demanding justice. The exhibition builds upon this moment, encouraging audiences to add their own contribution to our urban soundscape. Ultimately, Semo intends for these bells to sound an optimistic note. As we ring out the old and ring in the new, each bell reverberates in concert with its neighbors, creating a collective resonance together.

In this video she and the curator discuss the work and you can see more of the installation-

 

Mar 062026
 

If you have time between flights at Philadelphia International Airport, in addition to the many artworks on view, you can also learn about some of Philadelphia’s musical history. An installation dedicated to the 50th Anniversary of the music label Philadelphia International Records is currently on display in Terminal A.

More from Art at PHL’s website–

Philadelphia is proud to be the home of the legendary label Philadelphia International Records (PIR) known for creating The Sound of Philadelphia (TSOP). Songwriters and music producers Kenny Gamble, Leon Huff, and Thom Bell nicknamed The Mighty Three, are referred to as the masterminds of the Black-owned label known for its unique sound and vision based on messages of love, peace, empowerment, pride, and strength.

Their prolific catalog includes more than 3,500 songs that include instantly recognizable hits like Ain’t No Stoppin’ Us Now, Back Stabbers, Don’t Leave Me This Way, Enjoy Yourself, For the Love Of Money, I Love Music, If You Don’t Know Me By Now, Lady Love, Love Train, Me and Mrs. Jones, TSOP (theme song for the national dance show Soul Train), Use Ta Be My Girl, You Make Me Feel Brand New, You’ll Never Find Another Love Like Mine, and When Will I See You Again. The list of artists that PIR wrote songs for and signed is extensive – Archie Bell & The Drells, Jean Carn, Phyllis Hyman, The Jacksons, The Jones Girls, Patti LaBelle, McFadden and Whitehead, Harold Melvin & the Blue Notes, MSFB, Billy Paul, Teddy Pendergrass, The O’Jays, Lou Rawls, The Stylistics, and The Three Degrees.

For more than five decades, PIR’s music has captivated people of all generations, from all over the world. With countless classics, international acclaim, and their continuing legacy, PIR has made an indelible contribution to the world of music and the City of Philadelphia.

Philadelphia International Records has several videos on Youtube detailing aspects of its history- including the one below.

For a little more history, Philadelphia musician, producer and author Questlove went to elementary school next door to the offices of Philadelphia International Records and writes about that experience here.

Feb 272026
 

Pictured is one of Nick Cave‘s Soundsuits, created using found fabrics and metal and wood toys. It was on view at Columbus Museum of Art in 2024.

From the museum about the work-

Nick Cave’s Soundsuits are sculptural costumes, some of which were made to be worn, others to remain stationary. Although these suits often appear whimsical and joyful, they also respond to suffering and injustice. Cave created his first suit in response to the beating of Rodney King by Los Angeles police officers in 1991, an event that focused attention on discriminatory policing and racial profiling. Reflecting the artist’s lived experience as an African American man, the Soundsuits camouflage the wearer’s body, concealing markers of race, gender, and class.

In the Art21 video below you can see some of his Soundsuits in motion. He studied with the Alvin Ailey American Dance Theater and that influence can be seen here as well.

Art 21-Nick Cave in Chicago- Season 8

Cave’s latest exhibition, Mammoth, recently opened at the Smithsonian American Art Museum in Washington D.C. and will be on view until January of 2027.

About that show from SAAM-

In Mammoth, Cave remakes the museum’s galleries into an immersive environment marked by the crafted hides and bones of mammoths, a video projection of the long-dead animals come to life, and hundreds of transformed found objects—from vintage tools to his grandmother’s thimble collection—presented like paleontological specimens on a massive light table. By showcasing the ordinary and often forgotten bits and pieces of the world we live in, Cave’s work shines light on what we value and how we make meaning together. It evokes the lives and cultures we have lost, as well as the magical possibilities of a universe created through imagination and the humblest of materials.

Focused on the fundamental connections between people and their environment, Cave asks how we can begin to make sense of our relationship with a landscape that continues to evolve. How might we adapt, persevere, even thrive? As the contemporary world increasingly challenges what it means to be human, Cave envisions a space of both grief and possibility.

 

Feb 182026
 

King Saladeen created these murals for the Philadelphia International Airport’s Exhibitions Program.

From Art at PHL about this exhibition–

Philadelphia artist King Saladeen has created his largest painting installation to date currently on view at Philadelphia International Airport. Saladeen’s art is motivational and energetic. His paintings are filled with vibrant colors, shapes, patterns, markings, and text, along with representational imagery that includes his trademark JP the Money Bear and Philadelphia’s skyline. The work represents his passion to inspire as he says, “Dream Big, Love What You Do!” A message evident in this epic four-part painting.

Saladeen created this artwork partially in his studio as four paintings scaled to the proportions of the four gallery walls. The original paintings were scanned, printed on vinyl, and adhered on site. Over two nights, Saladeen painted atop the vinyl to complete his vision. It was an amazing performance to watch as he intuitively added more colors, shapes, and details until it was deemed complete.

 

Feb 132026
 

Currently on view at Philadelphia International Airport, It’s A Wrap 2, brightens a section of the airport with art work and installations by several local artists.

Included in this post are works by Nicole Nicolich (pictured above), Tim Eads of Tuft the World, Olivia Chiaravalli, and on the ceiling tiles- work by Miriam Singer and Eurhi Jones.

From the airport about the exhibition–

This exhibition features work by Philadelphia area artists who were invited to create unique architectural interventions within the Airport terminal. Using yarn, fabric, felt, found objects, tape, paint, wheat paste, and wood, the artists applied their work to the ceiling tiles, columns, rockers, walls, walkway, and windows. They have visually transformed this location into an immersive and experiential art-filled passageway.

The artists responded to the existing architectural elements to create an unexpected visual experience and an engaging space for people to pass through. It is a form of urban interventionism where art activates the built environment with the intention to see a public space in a new and creative way.

Work by Tim Eads of Tuft the World

Olivia Chiaravalli, “Brick by Brick”

Miriam Singer, “Dreamliner”

Eurhi Jones, “Tinicum”

Feb 062026
 

Giorgio de Chirico, “Portrait of Guillaume Apollinaire”,1914, Oil and charcoal on canvas

René Magritte, “The Secret Double”, 1927, Oil on Canvas

Dreamworld: Surrealism at 100 at the Philadelphia Museum of Art presents a large collection of works, in a variety of mediums, from the artistic movement. The show takes you through Surrealism’s history and is filled with many inventive and imaginative pieces- including several from lesser-known artists.

From the museum about the exhibition-

Surrealism burst onto the scene in Paris in 1924. French writer André Breton announced the aims of this revolutionary literary and artistic movement in his Manifesto of Surrealism. It started with a question: How, ideally, should we live? Breton observed that, at about twenty years of age, we make the error of trading our childlike imaginations for adult good sense and logic. Yet it’s the imagination that allows access to the innate state of freedom that we all possess. And maintaining freedom, Breton proposed, should always be the highest human aspiration.

Surrealism’s ambitions were broad and bold: its adherents wanted nothing less than a revolution in consciousness. To that end, they explored a method of experimental poetry called automatic writing, comparable to spoken free association, done spontaneously and, as far as possible, without conscious intent. Sigmund Freud’s theories about the role of the unconscious and the interpretation of dreams were an important inspiration. The Surrealists looked to access the unconscious mind to break free from the constraining rationality of the modern world.

Visual artists were part of the Surrealist movement from the start. They took up surprising and often challenging subject matter, imagery, and techniques across many mediums: painting, sculpture, drawing, printmaking, photography, book illustration and design, and film. In Dreamworld: Surrealism at 100, we explore how, from the movement’s 1920s beginnings through the 1950s, these trailblazing artists made good on Surrealism’s revolution in consciousness.

The exhibition is split into six categories- Waking Dream which features Surrealism’s beginnings in the 1920s, Natural History, focused on the influence of nature, Desire, Premonition of War, Exiles, and Magic Art, which focuses on the new type of esotericism that emerged within Surrealism in the aftermath of World War II.

Lee Miller’s photographs of natural rock formations

Salvador Dalí, “Aphrodisiac Telephone” 1938, Plastic, metal

From the museum about Aphrodisiac Telephone, one of the artworks in the Desire section–

Salvador Dalí likened the Surrealist object, which uses found items, as a symbolic creation with improbable juxtapositions, comparable to poetry and sexual perversion. He applied this idea in Aphrodisiac Telephone. Its basis is the substitution of a lobster— a real lobster in the sculpture’s first iteration for display in 1938, a factitious lobster in white plastic for the editioned version —for a similarly shaped telephone handset. The title alludes to the lobster’s reputation as an aphrodisiac when eaten.

Max Ernst, “The Fireside Angel (The Triumph of Surrealism)”, 1937, Oil on canvas

From the museum about the Max Ernst painting above, from the Premonition of War section-

Ernst painted The Fireside Angel (The Triumph of Surrealism) to protest the atrocities of the Spanish Civil War as well as the defeat of the Republican side. But this depiction of a rampaging bird-headed beast also served as an allegorical reflection on the nature of evil. Ernst exhibited this painting as The Triumph of Surrealism — a despairingly ironic title given the situation in Europe — at the 1938 International Surrealist Exhibition in Paris.

During World War II many European artists escaped to New York City and Mexico. The Exiles section features works by these artists, as well as Mexican (like Roberto Montenegro pictured below) and American artists whose work could also be seen as part of the Surrealist movement.

Roberto Montenegro, “The Double”, 1938, Oil on panel

The last section of the exhibition Magic Art, focuses on the increase in post-war interest in supernatural themes. There was also a room devoted to the work of artist friends Leonora Carrington and Remedios Varo, who had moved to Mexico during the war.

Leonora Carrington, “And Then We Saw the Daughter of the Minotaur”, 1953, Oil on canvas

Remedios Varo, “Creation of the Birds”, 1957, Oil on Masonite

This exhibition is on view until 2/16/25.

Feb 052026
 

Symbiosis (2011) by artist Roxy Paine has been on display in Iroquois Park on the Benjamin Franklin Parkway in Philadelphia since June 2014.

About this work from the Association for Public Art (aPA), which organized the installation and acquisition-

Hand-fabricated from thousands of pieces of stainless steel pipe, plate, and rods, Symbiosis suggests both ecological and anatomical branching systems.

Rising 34 feet high, the more than 3.5 ton sculpture was created from standard industrial piping that was welded, formed, and polished in the artist’s studio to create two shimmering, interrelated organic forms that both buttress and weigh on one another, referencing the darker aspects of nature and the fierceness of its laws. Symbiosis represents the collision of two dendroids that result in stasis, a questionable relationship that teeters between support and detriment.

Roxy Paine’s work consistently blurs the lines between the natural and artificial. He is known for work that explores the collision of industry and nature, and his series of stainless steel “Dendroid” sculptures are exemplary manifestations of this practice. The “Dendroids,” a term combining “dendron” (Greek for “tree”) and -oid (a suffix meaning “form”), are monumental structures that convey a fusion of industrial and organic forms. They evoke arboreal structures, vascular systems, synaptic networks, and industrial pipelines, interpreting the natural world through a man-made lens. The structures represent search, growth, and the branching of systems that suggest dormant energy and potential, a theme Paine has explored in his work for the last 15 years.

Nearby you can also find Mark di Suvero‘s painted steel sculpture Iroquois (seen in the second image posted).