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Focuses on the exhibition featuring a survey of Barry LeVa's work from January 15, 2004 through April 3, 2005, at the Institute of Contemporary Art in Philadelphia, Pennsylvania. Artists like LeVa who introduced flexibility in sculpture; Media used LeVa for his sculptures; Artworks featured in the exhibit aside from sculptures.

Reports on the exhibition "Yvonne Rainer: Radical Juxtapositions, 1961-2002," at the Rosenwald Wolf Gallery at the University of the Arts in Philadelphia, Pennsylvania. Rainer's art works exhibited; Highlights of the event; Theme of the event.

The article reviews the exhibition "Antonio Mancini: 19th-Century Italian Master," at the Philadelphia Museum of Art in Philadelphia, Pennsylvania which runs through January 20, 2008.

The article reviews the painting exhibition "Antonio Mancini: 19th-Century Italian Master," featuring works by Antonio Mancini at the Philadelphia Museum of Art in Benjamin Franklin Parkway, Philadelphia, Pennsylvania, through January 20, 2008.

The article reviews the exhibition "William Kentridge: Tapestries," at the Philadelphia Museum of Art in Philadelphia, Pennsylvania which runs until April 6, 2008.

The article reviews the painting exhibition "Renoir landscapes: 1865-1883," featuring the works of Auguste Renoir at the Philadelphia Museum of Art, Philadelphia, Pennsylvania.

The article reviews the exhibition "Karen Kilimnik," by Karen Kilimnik, at the Institute of Contemporary Art in Philadelphia, Pennsylvania through August 5, 2007.

The article reviews the painting exhibition "Ike Taiga and Tokuyama Guokuran: Japanese Masters of the Brush," organized by Felice Fischer at the Philadelphia Museum of Art in Benjamin Franklin Parkway in Philadelphia, Pennsylvania.

The article reviews the art exhibition "Tesoros/treasures/Tesouros: The Arts in Latin America, 1492-1820," held at the Philadelphia Museum of Art in Philadelphia, Pennsylvania.

Reviews the surrealist painting exhibition "Salvador Dali," at the Philadelphia Art Musem in Pennsylvania.

Reviews "Manet and the Sea," an art exhibition at the Philadelphia Museum of Art in Philadelphia, Pennsylvania.

Please. Someone, everyone, do something to save the American Folk Art Museum from dissolution and dispersal. Or at least slow down the process, so that all options can be thoroughly considered. New York's contemporary artists, and New York as a whole, need the creative energy of this stubborn, single-minded little institution, its outstanding exhibition program and its wondrous collection, an unparalleled mixture of classic American folk art and 20th-century outsider geniuses. At the moment it almost seems that the museum's trustees can't wait to end their flawed stewardship of this great but historically fragile institution. Last spring, having defaulted on a $31.2 million construction bond, they sold the museum's 10-year-old building to its neighbor, the Museum of Modern Art, and retreated to its small, rather grim Lincoln Square branch. [ABSTRACT FROM PUBLISHER]

There's a small, inspired exhibition cocooned inside ''30 Seconds Off an Inch,'' an exhibition of 60 disparate artworks by 42 artists at the Studio Museum in Harlem. Similarly, its catalog essay, while convoluted and sometimes sophomoric, takes a refreshingly visual, even formal approach to art that is usually admired exclusively for its political and social meanings. But the whole thing feels extremely green. It is no surprise to learn that show and catalog both are the first major effort of a 33-year-old assistant curator, Naomi Beckwith, who came to the Studio Museum in 2007, after a two-year fellowship at the Institute of Contemporary Art in Philadelphia. [ABSTRACT FROM PUBLISHER]

By any measure, Anne d'Harnoncourt's tenure as director of the Philadelphia Museum of Art, cut short by her sudden death on Sunday at 64, was distinguished. It shone forth in major acquisitions, successful fund drives, vast gallery renovations, a marvelous rehang of the collection and, above all, her refusal to let the museum become a three-ring circus. Having seen the Philadelphia museum -- or at least its steps -- become a destination after the 1976 film ''Rocky,'' she did not succumb to showy architecture; the new wing being planned at the time of her death has been designed by Frank Gehry, yet will go underground. [ABSTRACT FROM PUBLISHER]

The article reviews the art exhibition "Artur Barrio: Actions After Actions," by Artur Barrio which is being held at Moore College of Art and Design until March 19, 2006 in Pennsylvania.

Examines the controversy around a judge's decision to allow the Barnes Foundation to move its art collection to Philadelphia's Museum Mile from the home built by collector Albert Barnes. Why some are discouraged by the breaking of the foundation's charter and how they fear the decision may discourage donors from leaving works to museums; Others who believe that the gains outweigh the losses; Author's belief there is something to be said for moving pictures to new venues; Contention that the management of the Barnes has been so poor it restricts public access and enjoyment; Realization that no one person owns art.

Discusses the 15-year survey of paintings by Sarah McEneaney at the Institute of Contemporary Art in Philadelphia, Pennsylvania. Overview of McEneaney's paintings; Description of a number of the painter's works; Account of the real-life ordeal suffered by the artist.

Focuses on the exhibit of the Elsa Schiaparelli spring 1939 fashion collection at the Philadelphia Museum of Art. Distinctiveness of the collection; Collaboration of the fashion designer with artists.

Focuses on the exhibition 'American Sublime: Epic Landscape of Our Nation, 1820-1880,' which opens in Philadelphia, Pennsylvania on June 15, 2002.

Reviews the art exhibit of Lisa Yuskavage at the Institute of Contemporary Art at the University of Pennsylvania in Philadelphia.

Reviews the exhibition `The Arts of Hon'ami Koetsu, Japanese Renaissance Masters' at the Philadelphia Museum of Art in Pennsylvania.

Reviews the Carnegie International exhibition of contemporary art at the Carnegie Museum of Art in Pittsburgh, Pennsylvania, as of November 1999.

States that the Carnegie International is in the opinion of the Carnegie Museum of Art, in a state of falling asleep at the wheel. Year of establishment; Change of curators; What the `no muss or fuss' affair feels like.

Reviews the art exhibition `Heroes and Ghosts: Japanese Prints by Kuniyoshi, 1797-1861,' at the Philadelphia Museum of Art, Philadelphia, Pennsylvania, through June 28, 1998.