• Rachel Rose, Wil-o-Wisp (detail), 2018, still from the 10-minute 6-second color video component of a mixed media installation additionally comprising mesh scrim, projection scrim, and carpet.

    “Rachel Rose: Wil-o-Wisp”

    Philadelphia Museum of Art
    26th Street and the Benjamin Franklin Parkway
    May 2 - August 18

    Curated by Erica Battle

    Class warfare, the appropriation of public resources for private benefit, systemic violence against women—these painfully contemporary conditions were also defining characteristics of England in the sixteenth century, when the enclosure movement consolidated privatization of common land even as hysterical panic about witchcraft lead to widespread persecution of women. This uncannily resonant period is the subject of Rachel Rose’s latest work, to be unveiled at the Philadelphia Museum of Art this spring. While the artist is already known for her bravura deployment of digital effects and extravagant postproduction, this marks her first video featuring live actors—an experiment that promises a more sustained engagement with political and historical narrative. A catalogue, forthcoming in fall 2018 and published with the Fondazione Sandretto Re Rebaudengo and Yale University Press, will include documentation of the work’s production and installation, a new interview with Rose, and a critical essay.

  • Cliff Hengst, My New Reality, 2016, Flashe paint and acrylic on canvas, 66 × 44". From “Tag: Proposals on Queer Play and the Ways Forward.”

    “Tag: Proposals on Queer Play and The Ways Forward”

    ICA - Institute of Contemporary Art, Philadelphia
    University of Pennsylvania 118 South 36th Street
    February 2 - August 12

    Curated by Nayland Blake with Kate Kraczon

    This winter, the ICA will assemble a motley crew of artists who navigate identity politics with more than a dozen works in video, installation, photography, sculpture, painting, and performance, hinting that the ever-thorny topic requires not just a multiplicity of voices but diversity in media and approach. Featured among these will be A. K. Burns’s video installation Living Room, 2017–, in which A. L. Steiner, nude save for a head wrap, slumps over the edge of a white tub (riffing on Jacques-Louis David’s Death of Marat, 1793). A handful of text-based paintings by Cliff Hengst will also be on display, including one composition that declares: 49 YRS OLD / HIV+20 YRS / FAT & FKD UP (Fat and Fucked Up, 2015). Arnold Joseph Kemp will be represented by HEADLESS, 2016, a sculpture consisting of a pair of metallic-silver Fred Flintstone masks skewered by a forked metal frame. Savannah Knoop (the artist formerly known as JT LeRoy) and Robert Yang (a specialist in homoerotic video games), among others, will also enter the fray.