Institute of Contemporary Art
118 S. 36th Street
Philadelphia, PA 19104-3289
215.898.7108
Alex Da Corte and Jayson Musson: Easternsports
Opening Reception: September 19 - 6:30pm - 9:00pm
Exhibition: September 19-December 28, 2014
Longtime friends and first-time collaborators Alex Da Corte (BFA '04 Printmaking) and Jayson Musson, aka Hennessy Youngman, (BFA '02 Photography) create a major new commission for ICA. Featuring lesser-known strengths in their practices—video for Da Corte and language for Musson—Easternsports is a four-channel, multilingual soap opera starring the artists, both of whom have deep Philadelphia roots. A vignette-driven update of Thornton Wilder’s Our Town—equal parts Peter Greenaway and Jim Henson, David Lynch and Duck Amuck—the work will be presented as an in-the-round video installation.
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Moyra Davey: Burn the Diaries
Opening Reception: September 19 - 6:30pm - 9:00pm
Exhibition: September 19-December 28, 2014
ICA presents a new body of work by Moyra Davey based on the artist’s recent reading of Jean Genet. The act of reading has long been integral to Davey’s work, which is full of images of books; however this is the first time Davey has ever made a book specifically for a gallery installation. Her art interprets and critiques her own experience as an artist through a generous frame of literary, philosophical, and cultural references, drawing as well on objects, memories, and even dust.
Dear Nemesis, Nicole Eisenman 1993–2013
Opening Reception: September 19 - 6:30pm - 9:00pm
Exhibition: September 19-December 28, 2014
Exhibition: September 19-December 28, 2014
Dear Nemesis, Nicole Eisenman 1993–2013 is the most expansive mid-career survey of this major American artist to date. Over 120 paintings, drawings, prints, and sculptures represent Eisenman’s sprawling 20-year output. A painter consistently drawn to figures and faces, Eisenman’s canvases overflow with pathos and humor, tenderness and violence. An early focus on drawing, evident in murals and installations, evolved into large, narrative paintings clustered with bodies—and heads. Eisenman’s queer and feminist work often repositions historical works of art. We see Gaugin, Picasso, and Manet’s greatest hits recast as bitingly political and deeply intimate subjects, reanimating the radicality of these art historical works.
