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1 2017-11-02T13:55:41+00:00 Alicia Peaker 14f621fb2a70d659e17b3d56249cbca7a6c17f08 76 1 Louise Bourgeois, Woman with Packages, 1940, cast 1990. Bronze, painted white, 65 x 18 x 12 in. Pennsylvania Academy of the Fine Arts, Art by Women Collection, Gift of Linda Lee Alter, 2011.1.7 2017-11-02T13:55:41+00:00 Alicia Peaker 14f621fb2a70d659e17b3d56249cbca7a6c17f08This page is referenced by:
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Select Works at PAFA
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Curators
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Mechella Yezernitskaya is a PhD candidate in the History of Art at Bryn Mawr College. Mechella specializes in wartime visual and literary culture of the Russian and Soviet avant-gardes. Her additional interests include photography, film, critical theory, and museum studies. She has presented her research at the Association of Slavic, East European, Eurasian Studies, and her work has been supported by a fellowship from the New York Public Library. Previously, Mechella co-cuarted Arctic Subtext, a photographic exhibition of life in the Arctic, at Fordham University and she has also worked on the exhibition, Object: Photo. Modern Photographs. The Thomas Walther Collection 1901-1949 at the Museum of Modern Art, New York and on the Christian Brinton Collection at the Philadelphia Museum of Art. Mechella is currently a Teaching Assistant in the Film Studies Program at Bryn Mawr College. Mechella received her B.A. in Art History at Fordham University in 2012 and her M.A. in History of Art at Bryn Mawr College in 2015.
Laurel McLaughlin is a graduate student in the PhD program at Bryn Mawr College focusing on contemporary performance, specifically works that engage theories of identity, embodiment, and feminism, and a Curatorial Assistant at PAFA. She earned an MA from The Courtauld Institute of Art (2015) and an MA from Bryn Mawr College (2017). She has recently presented her research at the University of Pittsburgh, published interviews with performance artists Tímea Oravecz and Tanja Ostojić in the 17th Serbian Biennial exhibition catalog, and has a forthcoming article in Antennae: The Journal of Nature in Visual Culture concerning animal performance in Pierre Huyghe’s video Untitled (Human Mask), 2014. Additionally, Laurel received a Bryn Mawr College McPherson Curatorial Fellowship to assist Curator of Contemporary Art, Jodi Throckmorton, with research for the upcoming retrospective Rina Banerjee: Make Me a Summary of the World. She has previously worked as a curatorial assistant on World War I and American Art and Procession: The Art of Norman Lewis at PAFA, International Pop at the Philadelphia Museum of Art, and co-curated passages at FJORD Gallery as part of the University of Pennsylvania’s Incubation Series.
Museum Studies Curatorial Intern:
Tessa Haas is currently a Senior at Bryn Mawr, majoring in History of Art with a double minor in Museum Studies and Fine Arts. She is the Museum Studies Fieldwork Intern for Beyond Boundaries: Feminine Forms. In addition to this internship on campus, she is a Tour Guide at BMC Admissions, President of Art Club, and the POC Committee Head for the Bi-Co Jews for Inclusion. She is the Bryn Mawr Representative for the Barnes Foundation’s inaugural Student Advisory Board for the 2017-18 school year. After graduation, she plans to pursue her Ph.D. in Art History with a specialization in Institutional Critique.
Consulting Curators:
Jodi Throckmorton is Curator of Contemporary Art at the Pennsylvania Academy of the Fine Arts in Philadelphia. Previously, Throckmorton was Curator of Modern and Contemporary art at the Ulrich Museum of Art at Wichita State University, Kansas, and Associate Curator at the San Jose Museum of Art, California. She organized the exhibition and publication Postdate: Photography and Inherited History in India (2015). Other projects include Melt/Carve/Forge: Embodied Sculptures by Cassils (2016); Bruce Conner: Somebody Else’s Prints (2014); Questions from the Sky: New Work by Hung Liu (2013); Ranu Mukherjee: Telling Fortunes (2012); and This Kind of Bird Flies Backward: Paintings by Joan Brown (2011). Throckmorton is currently curating an exhibition and publication on the work of Rina Banerjee opening in 2018. -
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(not) at home
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The home has long been the socially-sanctioned sphere for “women’s work,” used simultaneously to validate and devalue such labor. In these works, circuitous floor plans, disorienting spaces, and precarious kitchen utensils challenge the assumption of the home as an innocuous and hospitable space of femininity. Here the ordinary shifts to the uncanny as these artists inscribe the domestic with discomfiting meaning.