WANAFOTO: Philadelphia Art Museum

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22/10/25

Sebastian Errazuriz @ Philadelphia Art Museum - 'Double Take' Mid-career Survey Exhibition

Sebastian Errazuriz: Double Take

Philadelphia Art Museum

November 22, 2025 – August 16, 2026

SEBASTIAN ERRAZURIZ

Lightning Strike Lamp, 2025

SEBASTIAN ERRAZURIZ

Chicken Lamp III, 2014

Edition of 12

SEBASTIAN ERRAZURIZ

The Represented Self, 2020

SEBASTIAN ERRAZURIZ

The Represented Self, 2020

The Philadelphia Art Museum presents Sebastian Errazuriz: Double Take, a mid-career survey by artist and designer Sebastian Errazuriz (b. 1977, Chile). The exhibition explores Errazuriz’s multi-hyphenate practice spanning art, craft, design, and technology, from antiquity-inspired furniture to multimedia work informed by artificial intelligence.

Alongside the exhibition, Sebastian Errazuriz will be honored with the 39th Collab Design Excellence Award. Collab is the museum's affinity group for modern and contemporary design and has celebrated diverse international designers who have made important contributions that advance all disciplines of design. Collab was established in 1986 and presents the award annually. Previous awardees have included Florence Knoll Bassett, Naoto Fukasawa, Zaha Hadid, Ingo Maurer, George Nakashima, Gaetano Pesce, Patricia Urquiola, and Marcel Wanders, among others.

SEBASTIAN ERRAZURIZ

Magistral Chest, 2014

SEBASTIAN ERRAZURIZ

Bust Shelf Green Marble, 2018

SEBASTIAN ERRAZURIZ

Bust Shelf Green Marble (Detail), 2018

Errazuriz’s creative imagination challenges upheld ideas of what design should be and, moreover, asks what it could be. Embracing humor and appropriation, his limited-edition and unique pieces often have a subtext that goes beyond form or function to include personal narratives, political messages, and cultural commentary. While many of Errazuriz’s pieces are functional, his work upends a number of conventions established within the design industry, including the notions that form should follow function, or that materials should be used where most appropriate.

Sebastian Errazuriz: Double Take presents over 20 years of making, including early conceptual works that take nature and existing found objects as sources of inspiration. The exhibition features furniture, mirrors, and other products that the designer creates from appropriated and digitally manipulated Greco-Roman antiquities from museum collections. Also on display will be a range of the designer’s “kinetic” cabinets, defined by their moveable elements. Errazuriz is interested in disrupting the idea that cabinets must consist of a box with two front doors, regardless of their design. Instead, objects in Double Take propose a dynamic way of living with furniture that rotates, spins, and fans out in different directions.

SEBASTIAN ERRAZURIZ

Piano Shelf, 2014

SEBASTIAN ERRAZURIZ

IMAGINE, 2025

A final, monumental installation features a full-wall graphic made up of drawings that Sebastian Errazuriz has created through the use of artificial intelligence. Overlaid is a new work, which spells out the word “IMAGINE” in neon lights, the letters flashing in alternating patterns to alight only “AGI” at certain points. Unlike current AI models which are trained for specific tasks, the concept of AGI, or artificial general intelligence, involves systems possessing human-like cognitive abilities, allowing them to learn new skills, adapt to novel situations, and demonstrate common sense and creativity without explicit pre-programming. This focal point of the exhibition explores Errazuriz’s fascination with, and apprehension about, the potential impact of AI on artists, designers, and culture more broadly.

SEBASTIAN ERRAZURIZ

Fan Cabinet, 2014

SEBASTIAN ERRAZURIZ

Narcissus Bowl, 2022

“The diverse body of work by Sebastian Errazuriz conveys imagination and cleverness, while also bewildering those who encounter it. The pieces are meant to be lived with, but, at the same time, are provocations. They have an air of mystery around their function and meaning,” said Tiffany Lambert, The Lisa Roberts and David Seltzer Curator of Modern and Contemporary Design. “This survey exemplifies one way to understand and challenge how design can impact our daily lives.”

PHILADELPHIA ART MUSEUM

Alter Gallery (Gallery 276)

2600 Benjamin Franklin Parkway, Philadelphia, PA 19130

www.visitpham.org

20/10/25

Brand X Editions: Innovation in Screenprinting @ Philadelphia Art Museum

Brand X Editions: Innovation in Screenprinting

Philadelphia Art Museum

Through November 16, 2025

Adam Pendleton (b. 1984)

Untitled (Who is Queen), 2020

Enamel screenprint and graphite pigment

Sheet: 64 × 49 inches (162.6 × 124.5 cm)

Gift of Brand X Editions, New York, 105-2024-19

Adam Pendleton (b. 1984)

Untitled (Figure and Malcolm X), 2020

Enamel screenprint and graphite pigment

Sheet: 64 × 49 inches (162.6 × 124.5 cm)

Gift of Brand X Editions, New York, 105-2024-20

Chuck Close

Self Portrait, 2017

Screenprint in ninety-one colors

Sheet: 69 × 57 3/4 inches (175.3 × 146.7 cm)

Gift of Brand X Editions, New York, 2023, x21994(10)

The Philadelphia Art Museum presents Brand X Editions: Innovation in Screenprinting, the first exhibition to spotlight four decades of collaborations between the Brand X printmaking workshop and a diverse roster of contemporary artists. On view through November 16, 2025, the exhibition features more than 80 screenprints by Helen Frankenthaler, Rashid Johnson, Alex Katz, Tschabalala Self, and Mickalene Thomas, among many others.

The exhibition celebrates the transformative gift of the Brand X Editions Archive to the Philadelphia Art Museum, presenting a selection from the over 400 screenprints given by master printer and founder Robert Blanton. Since establishing the workshop in 1979, Blanton and his team of skilled printers, chromists, and specialists have worked in collaboration with an impressive list of artists to push screenprinting techniques to meet the artists’ varied styles and expressive ambitions. The body of work from Brooklyn-based Brand X builds significantly on the museum’s extensive holdings of historical screenprints, adding major contemporary examples of traditional and experimental techniques. The Philadelphia Art Museum now holds one of the most comprehensive collections of screenprints along with essential archives related to the medium’s history and evolution from commercial tool to vibrant fine-art technique.

Emmanuel Taku

Entanglement, 2022

Screenprint, printed in twenty-three colors

with collage elements

Sheet: 60 × 40 1/4 inches (152.4 × 102.2 cm)

Gift of Brand X Editions, New York, 2023, 2023- 191-32

Emmanuel Taku

Got You, 2022

Screenprint, printed in twenty-seven colors

with collage elements

Sheet: 60 × 40 1/4 inches (152.4 × 102.2 cm)

Gift of Brand X Editions, New York, 2023, 2023- 191-33

“It is an honor to be the chosen home for Brand X’s magnificent collection of prints, said Sasha Suda, the George D. Widener Director and CEO of the Philadelphia Art Museum. “As expert printmakers, internationally renowned for their craft, Brand X are the true leaders in this field. For a museum like the Philadelphia Museum of Art, with such a rich and dedicated history in printmaking, it is a privilege for us to have this opportunity to welcome our visitors to experience and enjoy this generous gift.”

Deborah Kass

OY/YO, 2011

Two screenprints, printed in three colors on paper board

Framed: 21 1/2 × 20 inches (54.6 × 50.8 cm)

Gift of Brand X Editions, New York, 2023, x22034a,b

Deborah Kass (b. 1952)

Nobody Puts Baby in the Corner, 2022

Silkscreen, printed in seven colors on Coventry Rag paper

Sheet: 57 × 57 inches (144.8 × 144.8 cm)

Gift of Brand X Editions, New York, 2023-191-4

On view throughout the galleries are the results of Brand X’s dynamic collaborations across four decades of work. Together, the prints reveal the remarkable versatility of screenprinting. In the first gallery, for instance, works by Rashid Johnson, Deborah Kass, Adam Pendleton, and Mickalene Thomas demonstrate the medium’s ability to mimic the richness of paint layers, render a photographic precision, and produce variegated textures and surfaces. These artists expand the technical boundaries of screenprint in their exploration of themes relating to belonging, memory, and self-definition. From the dense, painterly urgency of Rashid Johnson’s Untitled Anxious Red to the layered intricacy of Mickalene Thomas’s November 1977, each work here shows how, at the Brand X workshop, screenprinting can be stretched, challenged, and transformed in response to an artist’s creative impulses.

Troy Michie

Doubling, 2019

Screenprint, Framed: 40 × 30 inches (101.6 × 76.2 cm)

Gift of Brand X Editions, New York, 2023, x22005(6)

Emily Mae Smith

Poetry (Toy in Blood), 2022

Screenprint, printed in forty-seven colors

Sheet: 60 × 45 1/2 inches (152.4 × 115.6 cm)

Gift of Brand X Editions, New York, 2024, 105- 2024-30(11)

The exhibition also addresses themes relating to text and language, pattern and decoration, graphic illusion, and landscape and figuration. Eight progressive proofs of Vija Celmins’s Ocean Surface offer a rare view onto the screenprinting process. From print to print, visitors can see how the image was formed cumulatively—by the sequential printing of individual screens, each bearing a single layer of ink. In final form, Celmins’s image materializes through sixteen applications of nuanced grays—an additive and subtle process apt for rendering the depth and detail of the ocean. Throughout the exhibition, equal emphasis is given to the pictorial and the material. Brand X Editions shines light on the technical procedures and the many roles—beyond that of the artist—that are vital to the production of screenprints.

“Just like the work that happens at Brand X, this exhibition and its catalogue were thoroughly collaborative endeavors, said Louis Marchesano, curator of the exhibition and the Marion Boulton “Kippy” Stroud Deputy Director of Curatorial Affairs and Conservation. “The addition of the Brand X Editions Archive, which will continue to grow as the studio produces more editions, goes a long way toward building an authoritative resource on screenprinting at the museum.”

Tschabalala Self (b. 1990)

Homebodies – All American 1, 2022

Monoprint, fabric collage, pigment wash,

hand coloring, and enamel silkscreen

Sheet (each): 24 × 18 inches (61 × 45.7 cm)

Gift of Brand X Editions, New York, 2023-191-29a,b

Tschabalala Self (b. 1990)

Homebodies – All American 1, 2022

Monoprint, fabric collage, pigment wash,

hand coloring, and enamel silkscreen

Sheet (each): 24 × 18 inches (61 × 45.7 cm)

Gift of Brand X Editions, New York, 2023-191-29a,b

Rashid Johnson

Seascape, 2023

Screenprint, printed in nine colors, with hand,

applied navy acrylic mixture

Gift of Brand X Editions, New York, 2023, 105-2024-9

Rashid Johnson

Untitled Large Mosaic, 2025

Screenprint, framed: 61 X 105 inches (1 154.9x 266.7 cm)

Gift of Brand X Editions, New York, 2023, x 22005(5)

Extending the exhibition beyond the gallery space, Rashid Johnson’s Untitled (Large Mosaic), 2025, is displayed in the museum’s Forum Balcony. For over three years, Rashid Johnson and his collaborators at Brand X developed this spectacular 293-color print, combining traditional screenprinting techniques—visible in the flat passages of bold color—with unconventional materials, including wood veneer, mirrored mylar, and cast paper oyster shells. Inspired by Johnson’s low-relief wall mosaics composed of innumerable tile fragments and other bits of material, this project captures Brand X’s enduring commitment to pursuing new levels of technical innovation and experimentation.

Brand X Editions: Innovation in Screenprinting is accompanied by a richly illustrated catalogue featuring essays by Philadelphia Art Museum curators and paper conservators, an interview with Robert Blanton and David DeSanctis of Brand X, a technical glossary related to the history and technique of screenprint, and an inventory of the archive held by Philadelphia Art Museum.

The exhibition is curated by Louis Marchesano, the Marion Boulton “Kippy” Stroud Deputy Director of Cultural Affairs and Conservation, with Em Dombrovskaya, the Suzanne Andrée Curatorial Fellow; Laurel Garber, the Park Family Associate Curator of Prints and Drawings; and Emily Friedman, the Allen and Kelli Questrom Assistant Curator of Prints and Drawings at the Dallas Museum of Art.

A series of exhibitions by Brand X collaborators including Rashid Johnson and Joel Mesler will be shown at the Philadelphia Art Museum through 2028.

PHILADELPHIA ART MUSEUM

Morgan, Korman, and Field Galleries

2600 Benjamin Franklin Parkway, Philadelphia, PA 19130

www.visitpham.org

19/10/25

The Philadelphia Museum of Art is now the Philadelphia Art Museum

The Philadelphia Museum of Art is now the Philadelphia Art Museum

Philadelphia Art Museum

Photo by Rob Cusick

Philadelphia Art Museum

Photo by Rob Cusick

The Philadelphia Museum of Art reintroduced (October 8, 2025) itself to the city, the nation, and the world as the Philadelphia Art Museum.

The museum has unveiled a new brand that places Philadelphia front and center, celebrating the city's grit creativity, and industrial heritage. Developed with Gretel, a nationally renowned branding, strategy, and design studio, the new identity reflects the museum’s transformation into a more engaging and expansive institution.

Philadelphia Art Museum

Photo by Rob Cusick

Philadelphia Art Museum

Photo by Rob Cusick

Every design choice deliberately embraces Philadelphia's independent spirit—from custom typography that merges the museum’s institutional heritage with the city’s visual language to reviving the iconic griffin in the logo as protector of the arts. The new brand identity captures Philadelphia’s vibrant culture, reflecting how art influences everyday life and resonates across the city’s diverse communities. It embodies the mission to bring art into the everyday, making the museum accessible, relevant, and deeply connected to the people it serves.

“The Philadelphia Art Museum has long been the cultural heart of the city, and it’s our duty to maintain that role,” said Sasha Suda, George D. Widener Director and CEO of the Philadelphia Art Museum. “Our focus and vision are unabashedly Philadelphian; we’re opening our doors to become more collaborative and future-focused for all.”

New Philadelphia Art Museum merch

Photo by Rob Cusick

New Philadelphia Art Museum merch

Photo by Rob Cusick

The Philadelphia Art Museum is a local, national, and international treasure that belongs to the city. The rebrand reinforces the museum’s commitment to engaging Philadelphia’s communities and visitors from around the world in dynamic conversations about art and life.

“This project is the result of more than a year of research, collaboration, creative development and iteration,” Ryan Moore, Executive Creative Director and Partner at Gretel, said. “Our main objective was to ‘come down the steps’ by putting the museum in dialogue with its community, which is and always has been the city itself. This new identity reflects the future of the institution: more engaging, more dynamic, and more inviting to new audiences.”

Philadelphia Art Museum

Social Media Social Stickers

PHILADELPHIA ART MUSEUM

2600 Benjamin Franklin Parkway, Philadelphia, PA 19130

www.visitpham.org