previews

  • Paul Strand, Church, Ranchos de Taos, New Mexico, 1931, platinum print, 5 7/8 × 4 5/8". © Estate of Paul Strand.

    “Paul Strand: Master of Modern Photography”

    Philadelphia Museum of Art
    26th Street and the Benjamin Franklin Parkway
    October 21–January 4

    Curated by Peter Barberie and Amanda Bock

    Not since the 1971 retrospective held at this very museum has a full-blown reevaluation of American photographer and filmmaker Paul Strand been attempted. Now, drawing heavily on a trove of recently acquired prints and lantern slides, the Philadelphia Museum presents Strand not as a revanchist who retreated from modernism after making his radically abstract compositions of 1915–17, but rather as a humanist who believed in the inherent modernity of keen observation and straightforward presentation of the world as it exists. Accompanied by an extensive catalogue, this exhibition of some 250 photographs and three films spans Strand’s career, from his Pictorialist origins and brilliant experiments of the 1910s and ’20s through the extended portraits of places—from Mexico to Ghana—that occupied him from the ’30s through the ’60s. Travels to the Fotomuseum Winterthur, Switzerland, Mar. 7–May 17, 2015; Fundación MAPFRE, Madrid, June 3–Aug. 30, 2015; Victoria and Albert Museum, London, Mar. 19–July 3, 2016.

  • “David Lynch: The Unified Field”

    The Pennsylvania Academy of the Fine Arts Museum
    118-128 North Broad Street
    September 13–January 11

    Curated by Robert Cozzolino

    The world recognizes David Lynch as an American auteur, but his clairvoyant cinema emerged from—and was created alongside—an equally strange and singular art practice. This ambitious exhibition, Lynch’s first major museum show, comprises more than ninety paintings, photographs, and drawings from 1965 through the present, including previously unseen early work. Among the highlights are Six Men Getting Sick, a multimedia installation made Lynch made in 1967 while he was a student at PAFA, presented now for the first time since its creation, as well as a selection of short films the director shot in the late ’60s in Philadelphia, a city he once called “the biggest inspiration of my life.” Lynch’s artistic output resonates with his Hollywood films, archly evoking the mysterious in the familiar, the body in unlikely configuration with “organic phenomena,” and “the home” as a site triggering flashbacks and nightmares.