Becky Huff Hunter

  • View of “Joy Feasley and Paul Swenbeck: A Hatchet to Kill Old Ugly,” 2014.
    picks November 11, 2014

    Joy Feasley and Paul Swenbeck

    “A Hatchet to Kill Old Ugly” is a three-part exhibition in the Fabric Workshop and Museum’s storefront project space that comprises a Shaker-inspired domestic interior, a dim crawl space, and a back-room atelier swarming with colored light. It is the fifth and most collaborative dual show for Joy Feasley and Paul Swenbeck (a married couple), both professional museum preparators. They each present new works—Feasley’s are acid-hued landscape and still-life paintings; Swenbeck’s are jagged-edged, plant-inspired ceramics—in environments they built, which contain constellations of objects with distinct

  • View of “Legal Tender,” 2014.
    picks January 14, 2014

    Emily Erb

    For her solo debut, “Legal Tender,” painter Emily Erb directs attention toward some of the United States’ most difficult historical passages by presenting dollar bills as surrogate American flags. Erb began working with U.S. currency as a motif after noticing the Occupy movement’s activist use of blown-up bills on protest banners. Her first works were hung in public parks and markets around Philadelphia, where she is based. Unlike Dan Tague’s poster-like scans of folded U.S. currency that spell out political aphorisms or Chad Person’s intricate, cut-bill collages depicting contemporary military

  • Lynda Benglis, Pink Lady, 2013, tinted polyurethane fountain, 95 x 30 x 27".
    picks June 08, 2013

    Lynda Benglis

    “Everything Flows (1980–2013)” is a small but dramatically staged exhibition that traces Lynda Benglis’s exploration of form via seventeen of her human-scale metal, ceramic, and polyurethane works made over the past four decades. Folded, ripped, and cast works are positioned on the ground and walls of this gallery as well as on plinths the height of cocktail tables. The exhibition’s limited palette of metallics, earth tones, and pale yellows encourages a focus on Benglis’s wide variety of surface textures and the works’ close parameters leave each with less space to breathe, effectively emphasizing

  • View of ”Excursus III: Ooga Booga,” 2012.
    picks November 05, 2012

    “Excursus III: Ooga Booga”

    Twice a year, Philadelphia’s Institute of Contemporary Art invites an artist, designer, publisher, or other cultural practitioner to create an installation responding the institution’s history, architecture, and current exhibitions. The residency, which has previously featured Philadelphia-based designer Andy Beach as well as East of Borneo, the online magazine based in LA, infuses the museum’s small mezzanine space with the selected artist’s personal aesthetic and social vision.

    For its third iteration, the “Excursus” series, organized by Alex Klein, invited Wendy Yao—owner and curator of

  • Martha Wilson, Martha Wilson as Barbara Bush, 1991. Still from televised performance at Upstream Arts, Staten Island C.T.V, New York, March 11, 1991.
    picks September 30, 2012

    Martha Wilson

    “THE ARTIST OPERATES OUT OF THE VACUUM LEFT WHEN ALL OTHER VALUES ARE REJECTED,” notes Martha Wilson in her early photo-text composition A Portfolio of Models, 1974. Referring to her negotiation and subsequent refusal of cookie-cutter female identities—from “housewife” to “lesbian”—the statement also works as a concise thesis for her interdisciplinary, activist practice. Part of a curatorial project from Independent Curators International, which also generated the Martha Wilson Sourcebook, 2011, Wilson’s traveling retrospective kicked off in Montreal and tracks four decades of her development