Sep 032026
 

Cynthia Daignault, “Light Atlas”, 2014-2016, Oil on linen (detail)

Light Atlas, a painting series by Cynthia Daignault, was on view at Akron Art Museum in 2024.

From the museum:

In 2014, Cynthia Daignault began driving north from her home in Brooklyn, New York. She turned west in New England and south at the Pacific Northwest, and she kept going until she had traced the entire outer perimeter of the continental United States. Having calculated the necessary distance, the artist stopped about every twenty-seven miles to make a sketch so that she could record a total of 360 images, representing the full circle of her journey. After five months on the road, she returned to her studio and created the paintings of Light Atlas. In each picture, Daignault placed the horizon line at the center, helping to suggest a continuous narrative and a collective portrait of the country. Having intentionally set out in the spring, she aimed to capture a mood of optimism and rebirth.

This series is currently on view as an installation at Thomas Cole National Historic Site in Catskill, NY. The 360 landscape paintings, will be on view until November 1st. On Saturday, September 12th, you can create a landscape painting with her for the site’s Second Saturday Workshop, and on Sunday she will be discussing Light Atlas for their Sunday Salon lecture series.

Daignault’s recent series, based on Yosemite National Park‘s iconic Tunnel View, is on view at the Institute of Contemporary Art / Boston until January 2027. For these paintings she used “the “mediated consciousness” of digital images, to meditate on our urgent and evolving relationship with the American landscape”.

For more about this series, this interview, from the museum’s website, provides more background on many of the conceptual ideas she is exploring with this work.

 

Installation view, Cynthia Daignault: Valley, the Institute of Contemporary Art/Boston, 2026-27. Photo by Mel Taing (Image via the Institute of Contemporary Art Boston website)

Aug 282026
 

As part of their programming for the nation’s 250th birthday, Delaware Art Museum is showing the work of local artists in their current exhibition, The People’s Gallery. It is a non-juried exhibition which allowed artists at all levels to contribute work.

It’s a fantastic opportunity to see what this community of artists has created and to purchase local art. Check it out before it closes on 9/6/26.

Aug 262026
 

“Calla Lilly Cloud”, 2024, Acrylic and mediums on stretched linen support

In John Breakey‘s paintings for Passing Each Other, at The Delaware Contemporary, he uses flowers and skies to explore the passing of time.

His statement about the work:

Foreground flowers and background sky move at their own pace and span of life.

Together, composed for specific periods within the day, combined to express captured growth and deliberate movement.

A cloud’s soft color shifts throughout time; they can’t seem to sit still.

And what about the flower? Each blossom evolves, invisibly slow. By days, but finite.

Flowers being what they are, fall.
Clouds, how quickly they can pass.

Like the years, the more one has.
This is my current work; a series that mixes different forms of time.

In the work above, Yellow Calla Lillies (2026) he reorders the panels to explore these ideas even further.

He says this about the painting:

I have an engraving by Aki Kuroda in the studio that speaks quietly to me: Flower X, 2004. Simplicity and grace packed into eight by ten inches. It served as a challenge to make this rendition of lillies more simple. Not graphic, not hard edged like Kuroda’s work but a new version of the work to the immediate right.

There was a deliberate choice to flip the left and right panels: these works are about time.

Two kinds.
Faster as the clouds pass.
Slower; a flower’s young green pigments before moving to dark.

Reordering the panels was my way of asking if moments are what we think they are.
Is how we account for time spent as linear as a best guess recall or something else?

This exhibition closes 8/30/26.

Aug 212026
 

“Gigantica und der Messerschmitts”, 1965, Acrylic on panel in artist’s frame

“Bird Toy”, 1965, Acrylic on panel in artist’s frame

These paintings were on view in Gladys Nilsson: Honk! Fifty Years of Painting at Matthew Marks Gallery in NYC in the early part of 2020. Nilsson was one of the original members of the Hairy Who, a group of Chicago artists who exhibited together in the mid-1960s.

Now in her 80s, her first museum retrospective, Gleefully Askew, is currently at Crocker Art Museum in Sacramento and features paintings, watercolors, drawings, and prints from her six decade career. This exhibition is on view until 11/29/26.

For more information, Artforum recently published a great profile of Nilsson in their Summer issue.

Aug 062026
 

Artist and muralist Egypt Hagen created With Thunder in Our Hearts for the 2022 edition of St. Pete’s  SHINE Mural Festival.  Her most recent projects can be found on Instagram.

From her website about the mural:

With Thunder in Our Hearts celebrates the courage to create, dream, and flourish. Through symbolic gestures of offering and exchange, the mural reflects on how compassion, creativity, and shared experiences can spark transformation within ourselves and our communities.

Her work can also be found brightening the walls of Ybor Urban Mart, located in the Ybor City neighborhood in Tampa.

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 292026
 

Jenny Holzer was born today, July 29th, in 1950. Pictured in this post are some of her famous Truisms, when they were on view at Akron Art Museum.

Her latest exhibition, Wrong Answers, is currently at the Serralves Museum in Portugal, closing November 1st.

 

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.