Italy to Cyprus by way of L.A.

Nadia Hironaka and Matthew Suib, The Soft Epic, video still. click to see it bigger.

Nadia Hironaka and Matthew Suib go global this summer. (See a clip of their video Soft Epic on their Soft Epic website, a piece so epic it gets a site of its own!) See their works  here:

Pesaro, Italy, June 13th-28th
Moscow, June 22nd and 23rd

Los Angeles, July 11th-mid August

New York, NY, July 28th,

and Nicosia, Cyprus, Sept. 3

Boston

Alex Da Corte, Serge and Bacchus

Look for Philly alum Alex Da Corte’s Casual Luxury ultra-exhibit in New England! Now there’s a culture confrontation!
LaMontagne Gallery
June 18th to July 31st

Greensboro, NC.

Eileen Neff, photo from her show at Weatherspoon Museum

Eileen Neff is showing selected work from the last 10 years in her museum exhibit Eileen Neff: Photographs!  Are they real or are they art? Greensboro, check it out!
Weatherspoon Museum of Art
May 24,  2009  – August 16,  2009

Harrisburg

Sarah Gamble, painting that's in the Art of the State exhibit in Harrisburg

Mind-boggling: 157 works of art by 798 Pennsylvania artists, selected for more than 2,000 entries.

A shout-out to Matt Pruden for this breaking news about the Art of the State.
Here’s a selection of artists we’ve written about from some of the 66 artists from the Philadelphia area.
Arden Bendler Browning
Nanette Acker Clark
Dominic Episcopo
Sarah Gamble
Ed Bing Lee
Lisa Murch
Matthew Pruden
Kate Stewart
Ben Volta
Kip Deeds
Csilla Sadloch

Art of the State, June 27 – September 20
The State Museum of Pennsylvania

New York, NY

Adam Parker Smith, untitled plane crash

Adam Parker Smith  in A Greek Play with a Main Character Named Oblivious (Parker Smith is a Philly alum).

Priska C. Juschka Fine Art

June 23 – July 31, 2009
Opening Reception: Tuesday, June 23, 2009 6 – 9 PM

Jesse A. Greenberg, Invitation Station Arch 1, 2008, Plastic, foam, rubber, silicon, plexi-glass, acrylic, vinyl, mylar, fabric, glitter, urethane, wood, electric lighting 96” x 80” x 28” (243,8 x 203,2 x 71,1 cm)

Jesse A Greenberg will be going to Columbia for grad school this fall, but we still claim him as a Philly guy. He will be in
Wild Feature, a group show with Melissa Brown, Brendan Cass, James B. Franklin, John Hodany, Misaki Kawai and Taylor McKimens.
Zurcher Studio
June 25 – July 26, 2009
Opening Thursday June 25, from 6 to 8 pm

Austin, TX

Amir Lyles

Amir M. Lyles, Africa Create Us:  Art Exhibit and Gallery Talk
DiverseArts’ New East Arts Gallery and Pro Arts Collective
June 13-July 9

The Philadelphia photographer Eileen Neff (b. 1945) presents a dreamy world of landscapes and empty interiors where the players are clouds and trees, chairs and birds, all of them ghostly stand-ins for the human. Neff’s scenes suggest a Godot-like waiting. When a small cloud inhabits an empty room, as in the black-and-white photograph Western Wind III, or snuggles like a lover with a tree in a garden, as in Another Bride, the story’s about us, about loneliness, love, beauty and the wonder of life….

Neff’s work asks–
Is what I see real?
Is this what I see?
Is this vision in my eye?
Is this vision in my mind?
And how about your mind, your eye, your point of view, your reality?

So the work stands on a slippery slope, where its footing threatens at any moment to slip out from under the art work and plunge us into some sense of shaky paranormality. On the surface, at first glance in many of Neff’s works, things look normal, real. Nature has trees and greenery and reflective water. Roads enter the woods. Furniture has angles and perspectives.

Eileen Neff, Night Falls, c-print, 40 x 110 3/4, courtesy the artist and Locks Gallery

But there’s a slight offness. The road’s angle looks slightly wrong–right enough to pass as right in a painting, but this is a photograph. The moving landscape is a convention and result of the photographic image. It’s not how we really perceive a landscape as we speed by. And next to it, a less streaky landscape resides. Neff suggests both are real–and not. She also suggests they are coeval. Perhaps they are. Perhaps the camera version and the naked eye version get taken in all at once. Perhaps not. The furniture, a mix of photography and foam core, a mix of 2- and 3-D thinking, are curiously flattened by the third dimension in their construction, which puts the lie to the trompe l’oeil perspective.

These untruths in the images manage to pass for the real at the same time that they question the real. When I look at Neff’s work, I feel a presence that I can’t pin down. It’s the presence of Neff’s own perception and how it differs from what I know to be true through my own perceptions.

What’s marvelous, to me, is not so much the poetry that everyone talks about in her work. It’s her presence, the moment that she takes in a breath and then expels the air, so slightly changed that the changes are barely visible.

Circle in the Rain, 2007, c-print mounted on aluminum, 15 x 28 1/2 inches, courtesy the artist and Locks Gallery

Neff’s works can be read from left to right, top to bottom, and as the eye progresses, the meaning changes, the reality changes, and the time changes. In “Five, for example,” her five different images of the sea are layered like a book. Each image shows different light, a different moment, perhaps a different locale (perhaps not). Unlike Vija Celmins’ one-layer sea drawings, which also go edge to edge, suggesting the an expansive space beyond the edges, Neff’s edge-to-edge photos, in their serial format, suggest an expansive time beyond the edges. Each page is not from the same moment. Each page is read at a different moment. All of these pages coexist, yet we take them in across time.

The conceptual and contemplative qualities, the slyness and subdued humor in Neff’s work, requires slowing down to allow the questions and ideas there to sink in. Some of those ideas are about painting, as in the layered grid created by a blurry abstraction of a landscape in This and That, or the striped field of The Field and the Plane. She questions the art rectangle and the landscape, slicing some of her paintings into halves, like rooms. She brings the outside inside, also. She jiggers perspectives and sometimes shamelessly challenges verisimilitude.

Eileen Neff, Summer (The Couple) cropped, 2007, c-print mounted on aluminum, 40 x 63 1/4 inches, courtesy the artist and Locks Gallery

This is smart work and challenging work that’s easy on the long-term long look.

The ICA has done Neff a disservice, pairing her with Ensemble (see Roberta’s post for more), the show downstairs of noise-maker art–an exhibit I enjoyed, but also resented as I went through Neff’s work. It was like trying to listen for a whisper next to the clamor of a locomotive.

Neff, who exhibits at the Locks Gallery in Philadelphia, has won numerous awards and honors, including locally a Pew Fellowship, a Leeway, and a residency at the Fabric Workshop and Museum.

Bring the Noise
“Ensemble” rattles and hums while Eileen Neff’s photos are still as death.

Enter Ensemble at ICA through Mineko Grimmer’s Bamboo Forest 1995/2007, a sonic curtain.

“Ensemble” at the Institute of Contemporary Art is louder than a roomful of noisy 2-year-olds unwrapping drums and rattles at Christmas. The group show of 32 clacking, clicking and thumping audio art pieces was organized by guest curator Christian Marclay, an artist whose own work involves complex sonic and visual mixes made from found source material (usually movies). The show aspires to music, but it’s random and not orchestral. Mostly the sounds are like throat-clearings—short, brutal and meaningless.

Tim Hawkinson’s Coleman thermos makes a noise–assisted by some steak knives.

At the opening Marclay described the show as a sound-art empowerment exhibit that brings audio art out of the gulag of elevators, hallways and closets where it’s usually installed (so as not to disturb the silence of the gallery). That’s a noble goal, but unfortunately, while “Ensemble” demonstrates the ingenuity of the international A-list artists who make audible art, it’s not a great show.

Sonic trash bags by David Ellis rattle and bump like a percussion team. Trash Talk, 2007. garbage bags, cans, bottles, cardboard, plastic, paper, aluminum, tin, foam, wire, hardware and electronics. Sequence composed in collaboration with Roberto Lange.

The works—some are on timers, some are motion-activated and some require viewer participation—are individual playstations creating an arcade-like chain of activities. Some of the works are beautiful or threatening or groovy, but overall, the show is formless and needs a tighter curatorial hand.

Dennis Oppenheim. The figure hits his head on the bell which sounds like a thunderclap in the big ICA. The piece worked at the opening but was not working when I came back a few days later.

Marclay, a fine orchestrater of sonic material in his own works—like Video Quartet and the memorable The Bell and the Glass—says he considers “Ensemble” like a piece of his own. “I appropriated the other artists’ works,” as he puts it. If so, it’s an experiment that needs more direction.

ICA Director Claudia Gould introducing show guest-curator Christian Marclay at the opening.

Admittedly, organizing sounds from 32 artists whose pieces were made to be experienced separately is a hard task, but surely not impossible. The brain-dead option would be to make the works all go off simultaneously—creating a terrible screech—and then shut them down abruptly. This sonic two-step would at least create an event with drama and a sense of urgency, and for the viewer it could be like what Allen Ginsberg called “listening to the crack of doom on the hydrogen jukebox,” something we’ve all imagined.

ICA guard, Linda, taking a turn on Doug Aitken’s sonic table, made for community music making. One of the nicest pieces in the show.

There are great individual pieces in the show that you’ll want to play with. Mineko Grimmer’s Bamboo Forest, a curtain that challenges you at the entrance, is simple and elegant. Doug Aitken’s K-N-O-C-K-O-U-T, a guitar-shaped xylophone table for five players, is charming. And David Ellis’ Trash Talk with garbage bags that rock and thump is funny and poignant. “Ensemble” is a great idea for a show and I hope Marclay gets to try it again.

Eileen Neff signing the catalog for her show, Between Us. The catalog’s a gorgeous thing, and so’s the show.

Upstairs, Eileen Neff’s “Between Us” is pitch-perfect. The local artist’s digital photographs are shockingly still, even though many of them capture what appear to be moments of flow and speed. Neff’s works, like Anecdote of the Tree in which a solitary trunk is showcased (a singular wonder in a world that just won’t slow down), are bullets to the heart.

“Ensemble” and “Eileen Neff: Between Us”
Through Dec. 16. Ensemble musical performances every Wed., 5:30pm.
$3-$6.
Institute of Contemporary Art, 118 S. 36th St. 215.898.5911.

THURSDAY, SEPT. 6

Eileen Neff, at ICA and Locks Gallery
Circle in the Rain, 2007
C-print mounted on aluminum
15 x 28 ½ inches
Courtesy of the artist and Locks Gallery, Philadelphia

ICA
118 S. 36th St. Philadelphia
215.898.7108
Opening reception — free and open to the public — Thursday, Sept. 6, 6-8 pm.

We’re going to listen to Guest-Curator Christian Marclay‘s melody makers–a world class ensemble of noise makers at ICA. From local music sculptor Terry Adkins to Doug Aitken to Yoko Ono, the sonic show will make a boom! Upstairs, local photographer Eileen Neff who captures trees that seem to want to speak and other ghostly intimations–not to be missed. Neff, by the way, will have a companion solo show at Locks Gallery Sept 7-29 (see Friday for more).

FRIDAY, SEPT. 7

Robert Zakanitch at Locks Gallery
Red Squirrel (Lace Series), 2001
acrylic on canvas
55 x 69 inches

Robert Rahway Zakanitch at Locks Gallery
600 Washington Square South
215.629.1000
Opening reception Friday, Sept. 7, 5:30-7:30 pm

Painter of lace, Zakanitch recognizes lace as a cultural object and makes it current. More about community knitting itself together than about lace, Zakanitch’s works are surprises. And wait til you see the size–huge! Prehensile lace. And upstairs, as we mentioned above, Eileen Neff will have more of her mysterious digital photographs. Opening reception Friday, Sept. 7

Merrilee Challiss at Art Star.
1030 N. 2nd St., Unit 301
215 238 1557
Opening reception Friday, Sept. 7, 5-9pm

Mixed media paintings, prints and hand-made and printed tote bags by the former Spector Gallery and Vox Pop artist with an impressive resume. Art Star gets props for continuing its great exhibition program along with its cute boutique tchotchkas. Bring your skateboard or bike–this venue’s in the East Girard Arts Corridor (aka Northern Northern Liberties).

Extra Curricular at Topstitch

Extra-Curricular at Topstitch
311 Market Street, 2nd Floor
267.322.4057
Opening reception September 7th from 6 – 10 PM
Illustration show on the topic of back to school —with a great lineup including Derek Ihnat, Hawk Krall, Jayson Scott Musson, Carrie Powell, Damian Weinkratz, Shira Walinsky and way, way more.

Khmer Art Gallery
319 N. 11th St. (at Wood St.–same bldg as Vox and Copy)
Philadelphia, PA
215-922-5600
Opening Reception, September 7, 5 pm-9 pm

Local filmmaker and Temple MFA candidate Rini Yun Keagy will screen her film ,Yellow, at Khmer, a gallery devoted to Cambodian art work, old and new. The film explores ethnic identity and class issues.

There’s usually something good at Vox Populi and Copy and Space 1026 but at this time we have no information.

ALSO

Some other things to see are Principles of Uncertainty a collaboration between filmmaker Nadia Hironaka, and Eugene Lew and Miro Dance Theatre (Amanda Miller and
Tobin Rothlein). Free and in the street (2rd and Race) at 7:45, 8:30 and 9:30 pm

Robert Straight, at Schmidt-Dean Gallery
Untitled, 2007
37×34″ acrylic and laser cut paper on canvas

Robert Straight at Schmidt-Dean Gallery.
1710 Sansom St. 215 569 9433
opening reception Friday, Sept. 7, 5:30-7:30 pm

Exquisite Corpse–collaborative paintings, show curated by John Freeborn
Painted Bride
230 Vine Street
215.925.9914
Opening Reception Friday, Sept. 7 5-7 pm

Reprint
Temple Gallery — Temple Gallery/Philagrafika collaborative show
259 N. 3rd Street
215.925.7379
Opening Reception: September 7, 6 – 9 pm

ALSO….ON SATURDAY

Wind Fleisher Challenge 1
Fleisher Art Memorial
719 Catharine Street
215.922.3456
Opening Reception Saturday, September 8th, 5:30 to 7:30 p.m

There’s a lot to look at out in the world–golden arches, illuminated Meineke Muffler logos, and the mesmerizing bullseye imagery in the Target commercials. So people who make works on paper have some heavy competing to do, and clearly they realize it, because the Contemporary Works on Paper show at the Philadelphia Museum of Art includes lots of works of ambitious, look-at-me scale.

Not only do they have to compete in the hyper-commercialized and high-speed computerized visual landscapes in which we live, but they also have to compete for attention with the little bits of nature that still peek through the visual noise and are the reality behind the daily reality of a pampered life in houses with hot and cold. Those little bits of nature represent the planet and the universe beyond, the natural world that’s keeping us alive.

It’s that engagement with the concept of man’s place in nature and what nature means that gives the first half of this exhibit its juice, and how juicy it is at times!

Untitled (End of Days), by Mark Fox

The show-stopper was Mark Fox’s explosive Untitled (End of Days), a network of pop-culture trivia exploded into a mushroom cloud. Its delicacy suggests a world barely holding together as cultural artifacts spiral out of control. It also looks great from the back, where it becomes a randomized doily of white paper that kind of looks like a map of Africa.

{At a recent event of art friends, we all wanted to know how in heck the museum stored the thing. PMA Assistant Curator of Prints and Drawings at the Philadelphia Museum of Art Shelley Langdale acted like it was not big deal, and said they rolled it up with paper between to keep it from catching on itself}.

Reeds, by William Kentridge, 1996, etching, aquatint and drypoint

It was the map-like shape that started me thinking these thoughts, that were then reinforced by the juxtaposition of William Kentridge’s Reeds, with its marks suggestion human presence and orientation superimposed on a landscape, next to Richard Long’s Dorset Song Lines, a sort of altitude map of several days’ march. I loved Kentridge’s mappy notations mixed with the landscape’s up-close tactile sense–right next to the rather impersonal looking Song Lines. They both had very much the same message about our relationship to the natural world.

Anecdote of the Tree, by Eileen Neff, 2001, chromogenic print

From there it was a short leap to giant ultra close-ups of leaves and pods, and from there an even shorter leap to the concept of reinventing the land altogether, ideas behind Peter Campus’ faux bush, burning, a computer-generated image made up of multiples of just a few basic marks. A similarly man-manufactured image from Peter Hutchinson, Berlin-Mexico, included images collaged from two different locales to create a weird new landscape of his imagination. And next came local photographer Eileen Neff’s trick landscape that almost looks real and right but is totally wrong, totally manufactured, a closeup tree appearing to bisect what is in fact not one space but two. Another notable piece on the relationship of humans to the land around them include Roni Horn’s triptych, footnoted views of the River Thames.

The exhibit has a number of local artists besides Neff, including Susan Abrams, Neysa Grassi, and from Philadelphia Print Collective portfolios, Isaac Lin, Charles Burwell, Shelley Spector, Kate Abercrombie and Candy DePew.

Sneeze, by Heide Fasnacht, graphite on watercolor paper

The second half of the exhibit doesn’t carry through on the subject, except here and there, and was mostly organized around similiar issues in close proximity. Among my favorites were Heide Fasnacht’s giant Sneeze with its faux Benday dot efflourescence and Javier Vallhonrat giant closeup of a melting ice cube, from his Precarious Objects series. In the small-scale category, I loved Dove Bradshaw’s Untitled (Grass) carbon-paper rubbing, and Hong Hao’s New World Map (Selected Scriptures, Page 3535). More images here.

Planet Rock
Ice sheets, volcanoes, crickets, waterfalls and garden motifs make their way into spring’s art offerings.

Artists are always itching to connect with nature, so it’s no surprise that this spring you’ll see lots of earth, wind, water, animals and plants in the area’s art galleries and museums. No antihistamines or sunscreen required, and flip-flops are always welcome.

Climate Control
Abington’s Out of the Blue

Felix Gonzalez-Torres icy spill of blue candy putting out the fire in the fireplace at Abington.

Abington Art Center‘s “Out of the Blue” focuses on climate and environmental concerns, and includes 22 local, national and international artists. Several, like Diane Burko (Philadelphia) and J.J. L’Heureux (Los Angeles), are geo-trekkers, exploring the world by plane and ship to photograph extremes of nature like ice sheets in Antarctica or volcanoes in Iceland.

Joy Espisalla’s piece, set on the floor. The fly-over showing clouds and city is very beautiful — and ominous.

Flirting with issues of nature’s beauty and power, these artists make works that transcend National Geographic by imposing a mindset that questions what it sees. The works are in the tradition of sublime landscapes painted by Thomas Cole (Burko) or photographed by Ansel Adams (L’Heureux).

Stephen Andrews’ 365 sunsets printed on a kind of un-usable folded blanket. One of the best things in the show. For lots of images from the show, see the Out of the Blue website.

But since in 2006 we understand sublime landscapes no longer exist and global warming is real and threatens us all, the art is grounded not so much in beauty but in worries about the future.

Display case with, among other things, a photo and a story from Eileen Neff. The photo shows a large shadow moving across the continent of Europe. A digitally-enhanced construct significant to Neff for being believable as a satellite photo — and also as a faux satellite photo (which it is).

If you like behind-the-scenes, “Out of the Blue” has it-an installation of objects, books and artifacts (provided by the artists) that were triggers for their ideas.

John Tallman’s installation at Abington. See flickr set for more pix.

Also at Abington in the community gallery is John Tallman‘s installation of Day-Glo abstract paintings and sculpture which immerse you in an intense unnatural world. Tallman is an emerging local artist and Tyler grad who spent five years teaching English in Korea. He absorbed a lot of that country’s urban excitement, and his work broadcasts a techno-industrial ambience that overwhelms all thoughts of land, sea and sky. Serendipity perhaps, but the show is a nice counterpoint to “Out of the Blue.”

Out of New Orleans
Gallery 1401

John Woodin New Orleans photo, after the flood or before, I can’t tell.

John Woodin‘s film and digital photographs at Gallery 1401 present New Orleans neighborhoods pre- and posthurricane and flood. Woodin, a New Orleans native, captured the city’s unique architectural styles on a 2004 visit. Last October he documented the severe destruction wreaked on many of the same houses, including his mother’s home. See more photos at Woodin’s inliquid page.

Out of Woodmere
Second Photo Triennial

Thomas Brummett, Fern. For more images see Schmidt-Dean Gallery’s website.

Photography lovers eagerly anticipate Woodmere Art Museum‘s “Second Triennial of Contemporary Photography,” a regional roundup that acknowledges Philadelphia’s strong and vibrant photography community and dares to pass critical judgment. (Someone somewhere should organize regional triennials for painting, sculpture and video as well-it’s overdue.)

Sarah Stolfa’s Arpson Bravo. See more Stolfa photos at Gallery 339′s website.

Among this year’s honored photo practitioners is Thomas Brummett, whose lovely, dark and otherworldly photographs focus on trees, plants and sky. Also honored is emerging artist Sarah Stolfa, not a nature photographer, but one whose nuanced color portraits (taken at McGlinchey’s bar, where she works) depict people as hothouse flowers–beautiful and exotic.

Natural Women
PAFA’s The Late Show

Nadia Hironaka’s Late Show at PAFA. See bigger here.

Nadia Hironaka‘s “The Late Show” at Pennsylvania Academy‘s Morris Gallery is a multiprojection video installation that takes you to the drive-in movies with crickets chirping and wind rustling in the trees. Hironaka’s technologically savvy piece shows a brightly lit drive-in screen on one wall and a gravel road with a car driving toward you on an adjoining wall. Recorded sounds on various speakers surround you with nature’s night sounds to create a believable immersion in the woods. I would’ve liked a little more story (a woman getting out of a car and lighting a cigarette and a moth flying up on the screen just aren’t enough), but the audio is a treat and a pleasant reminder of nature’s nighttime lullaby.

Bubble Stages at Painted Bride

Nami Yamamoto’s bubble installation at Parts to the Whole at Vox Populi a few months back. See it bigger here.

Nami Yamamoto‘s bubble installations-which have appeared at Vox Populi, the Philadelphia airport and elsewhere-suggest nature under a microscope. The artist’s new installation at the Painted Bride Art Center continues her lacey foam, paper and vinyl evocations of cell division, gurgling hot springs, champagne spills and cascading waterfalls. Made of hundreds of hand-cut bubble forms pinned to walls, floor and ceiling, Yamamoto’s pieces hint at the trap of excess, but mostly suggest plenitude and the magic of life.

Woman Photographers at ICA

Candida Hofer photo of an opera house interior which I saw at the Armory show recently. See bigger here.

At the Institute of Contemporary Art human nature is foremost for two female photographers whose concerns with forlorn architectural aesthetics might find surprising kinship. German photographer Candida Höfer focuses on depopulated architectural interiors of public spaces like libraries, opera houses, galleries and cafes.

Zoe Strauss image of a half of a house shows her focus on the architectural forlorn. For more images see her website.

And local artist Zoe Strauss trains her camera on streets and alleyways. While Strauss is known for her people pictures, there’s another stream of her work that deals with depopulated scenes in downscale neighborhoods of Philadelphia and elsewhere. Höfer, who studied with renowned German photographers Bernd and Hilla Becher, is an established international artist. Strauss, who’s self-taught, is having her first museum solo. Both artists make works of formal beauty and compositional clarity, and I can’t wait to see them under one roof.

Rococo at the Art Alliance

Eva Wylie’s piece at her Vox Populi show last year. See bigger here.

Philadelphia Art Alliance‘s “A Delicate Constitution” provides floral and animal-themed decorative riches, with four artists (Colleen Toledano, Linda Cordell, Carson Fox and Eva Wylie) installing works of rococo excess in various media in the second-floor galleries.

Carson Fox, faux flowers and a double-edged word. At the Art Alliance.

Downstairs and on the third floor Kelley Roberts, Libby Saylor and Julianna Foster add three more distaff voices in separate solo shows. Wylie, a Vox Populi member who screenprints tiny, intricate architectural and garden motifs right on the wall, has been a standout in other group exhibits.

where it’s at

“A Delicate Constitution”
Through May 21. Philadelphia Art Alliance, 251 S. 18th St. 215.545.4302.

Candida Höfer: “Architecture of Absence” and Zoe Strauss: “Ramp Project”
April 22-July 30. Institute of Contemporary Art, 118 S. 36th St. 215.898.7108.

“The Late Show”
Through May 14. Morris Gallery, Pennsylvania Academy of the Fine Arts, 118 N. Broad St. 215.972.7600.

Nami Yamamoto: “Stages”
April 7-May 27. Painted Bride Art Center, 230 Vine St. 215.925.9914.

“New Orleans Photographs”
Through April 7. Gallery 1401, University of the Arts, 320 S. Broad St. 215.717.6000.

“Out of the Blue”
Through May 6. Abington Art Center, 515 Meetinghouse Rd., Jenkintown. 215.887.4882.

“Second Woodmere Triennial of Contemporary Photography”
March 26-June 25. Woodmere Art Museum, 9201 Germantown Ave. 215.247.0476.