After what seemed like a lifetime of waiting in the wings, literally in a corner behind the building hoisted up on what looked like a hydraulic lift from Jiffylube, Milord LaChamarre (My Lord of the Fancy Vest), one of Philadelphia’s best public art works, is in a better place.
Read MoreAnd perhaps this last is one of the most significant points the exhibition makes: despite an international interest in the commercial vernacular and the visual impact of the media, the works in the exhibition can only be truly understood within the cultures that produced them. This leaves serious viewers with the realization that the information in many of the introductory labels is insufficient background for a real understanding of the art and how it functioned in its native territory.
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