Espiritu’s Over and Over series of works reflects the over-saturated, repetitive graphic landscape that surrounds us every day. Using typography and pop lyrics as imagery to create posters, a newspaper, and T-shirts, Espiritu comments on celebrity and the ubiquitous nature of media. The poster series will be displayed in Philadelphia at 915 Spring Garden Street and at Fishtown Bikes-n-Beans, 1321 North Front Street, and throughout the city.
Allan Espiritu (American, b. 1970)
Over and Over series
a) I Fall Deeper and Deeper
Digital color prints on paper, 22 x 14 inches each
b) It Gets Sweeter and Sweeter
Digital color prints on paper, 22 x 14 inches each
c) I Was So Blind I Could Not See
Digital color prints on paper, 11 x 8 1/2 inches each
d) Over and Over zine, 12 pages
15 x 11.5 inches folded
Courtesy of the artist
915 Spring Garden Street (Arts and Crafts Holdings)
1321 North Front Street (Bikes ‘n Beans)
Holzer’s Truisms express multiple viewpoints aimed at eliciting a wide range of responses from passersby. Arranged in alphabetical order, these pithy statements and one-liners are variously aggressive, comic, and profound. Holzer’s work can be found at the Physick House on 321 South 4th Street from mid-February until March 31 and at 1002 Buttonwood Street throughout the course of the exhibition.
Jenny Holzer (American, b. 1950)
Offset black-and-white posters on paper
34 3/4 x 22 7/8 inches each
Courtesy of the artist
Physick House (Philadelphia Society for the Preservation of Landmarks)
321 South 4th Street
Gallery talk with Judith Tannenbaum Wednesday, March 8, 6:30pm
1002 Buttonwood Street (Arts and Crafts Holdings) February–May
Rupp created her Rat Patrol poster in response to New York City’s 1979 garbage strike. A student of animal behavior, Rupp marked infested areas to show how the city, with its delicate ecosystem, had become a natural habitat for rats. These life-size images are usually installed low to the ground so that they appear to activate a site.
Christy Rupp (American, b. 1949)
Laser printed color posters on paper
5 1/2 x 17 inches each
Courtesy of the artist
Various outdoor locations in West Philadelphia and North Philadelphia
An anonymous group of feminist artists, the Guerrilla Girls see themselves “in the tradition of do-gooders like Robin Hood, Wonder Woman, and Batman.” Dressed in gorilla masks to protect their identities, they aim to expose sexism, racism, and corruption in politics, art, film, and popular culture. The recent series of billboards included in this exhibition addresses income inequality in the art world.
Guerrilla Girls (American artists’ group, active 1985–present)
Dear Art Museum, Dear Art Collector, Dear Art Gallery, 2015
3 vinyl billboards, 14 x 48 feet each
Courtesy of the artists
US 1 Roosevelt Xwy ES 550 ft S/O Clarissa St. F/N 1
1-76 Schuylkill Xwy NS 100 ft E/O New Hope St. F/W 2
1-95 WS 25 ft S/O Pattison Av F/N -1
Marti is known for fusing historical subjects with popular culture and fine art with craft and design. For this exhibition, Marti shopped for fabric in South Philadelphia and with it created two large “poufs”— round, upholstered seating units. One will replace the wooden benches in the Barnes Collection Gallery, while the other will travel to several indoor and outdoor locations across the city.
Virgil Marti (American, b. 1962)
Fabric, trim, foam, and plywood
Two units, each approx. 28 x 96 inches (diameter)
Courtesy of the artist and Locks Gallery
The Barnes Foundation, Neubauer Plaza
February 25–February 28
Taller Puertorriqueno, 2721 North 5th Street
February 28–March 20
Gallery talk with Judith Tannenbaum
Friday, March 17, 4:30 pm
Smith Playground, 2100 South 24th Street, Fairmount Park
March 21–April 10
Shofuso Japanese House and Garden, Lansdowne and Horticultural Drives
April 11–May 1
Laurel Hill Cemetery, 3822 Ridge Avenue
Gallery talks by the artist will be arranged at each venue. Some dates TBD
Interdisciplinary artist Sanford Biggers is revisiting for the first time a performance he created in Chicago in 1999, in which he commuted, clad in a suit and sporting dreadlocks, by train from the suburbs to a downtown diner. Biggers carried with him two pieces of artwork: a book and a briefcase constructed with wood, nails, and twine and inspired by Congo spirit figures, or nkisi. These objects are on view in the Roberts Gallery through May 22.
Biggers has revised his performance by working with two other artists: Xaviera Simmons, an African American woman, and Michael Stablein, a white man. Each of the three artists will ride a commuter train and walk with four individuals of their own race and gender from Suburban Station to the Barnes Foundation. Each of the groups-five black men, five black women, and five white men, respectively—will wear identical clothing. The way in which spectators respond to the three groups will underscore cultural shifts and human interactions today—almost 18 years after the original performance.
Sanford Biggers (American, b. 1970)
Duchamp in the Congo (Suburban Invasion)
Suburban Station to the Barnes Foundation
Performers: Sanford Biggers, Xaviera Simmons, and Michael Stablein
In this performance, Cuban artist Tania Bruguera walks through city streets in a garment made of earth, cloth, wood, and nails—the embodiment of a living nkisi nkonde, or Congolese power figure. Originally performed in 1998 in Havana on Fidel Castro’s birthday, Bruguera conceives of this work as “an allegorical way to approach political reality and the social promises that have been made and never kept.”
Tania Bruguera (Cuban, b. 1968)
Performance (“behavior art”) embodying a nkisi nkonde icon
Cuban earth, glue, wood, nails, textile
Duration and dimensions variable
Reading Terminal Market
Eastern State Penitentiary
The Barnes Foundation
Lecture: How to Transform Affect into Political Effectiveness
Wednesday, May 3
Wearing her signature neon-yellow, zebra-patterned bodysuit and high heels, Ayana Evans will travel around the city to various locations—from a South Philly cheesesteak joint to an elegant Broad Street hotel and a Fairmount neighborhood church—performing a demanding physical routine of jumping jacks, chair dips, and ground rolling. The piece will culminate in a tea party at the Barnes on Wednesday evening, May 10, complete with projected video footage of the roaming performance.
Ayana Evans (American)
Performance and video projection
United for Christ Ministries, 628 North 21st Street
Barnes Foundation outdoor fountain
Rocky steps at the Philadelphia Museum of Art
North Philadelphia private home
Pat’s and Geno’s Cheesesteaks in South Philly
9th and Giordano, Italian Market
Jim’s Cheesesteaks, 4th and South Streets
9th and South Street
First Bank of the USA, 116 South 3rd Street
Ritz Carlton lobby bar/restaurant, 10 Broad Street
Bellevue Hotel bar, 200 South Broad Street
May 6, 10 am–8 pm
Temple University, North Philadelphia
May 7, 11 am–noon
The Barnes Foundation, Annenberg Court
Tea party with video projection
May 10, 6–8 pm
Fabri explores the process of mourning in response to police murders of Black people and the loss of freedoms he anticipates under the new presidential administration. Drawing on Victorian and African American gothic narratives, Fabri will engage with four of Philadelphia’s historic city squares—Rittenhouse, Washington, Logan, and Franklin—through a series of walks and performative actions. The artist will document his experience through film, photography, a journal, and a sound score.
Zachary Fabri (American, b. 1977)
Rittenhouse, Washington, Logan, and Franklin squares
The source for Wilmer Wilson IV’s performance, Channel, and sculpture, a long pane beat in, is a 1968 Philadelphia Tribune news story. The article described a young man who “was good at repairing television sets” but had been killed as a result of the police practice known as “turf-dropping,” whereby black suspects were left in rough neighborhoods rather than being charged with a crime. Every sunny day from February 25 until April 2, Wilson will respond by walking the city streets and collecting discarded tube televisions, which he will bring to the Barnes and configure to display X-rays of human ribs. From April 2 to April 6, he will carry select working televisions into the streets, where he will activate them and intervene in pedestrian life—with the presence of the X-rays against his own body.
Wilmer Wilson IV (American, b. 1989)
Channel and a long pane beat in
Performance and sculpture
Tube televisions, X-rays, media players
Courtesy of the artist and Connersmith
Market-Frankford subway line
February 25–April 2 and April 2–6
New York-based artist Man Bartlett will create a microsite and digital artwork exploring themes related to Person of the Crowd and the concept of “cyberflânerie.” Bartlett will act as a flâneur, documenting the street performances taking place throughout the run of the exhibition and inviting bystanders to become flâneurs themselves as they share their perceptions of everyday urban life via social media using the hashtag #personofthecrowd. The artist will also work with Philadelphia teens to develop videos documenting their own experiences with flânerie in the city’s public spaces.
Bartlett will weave together this rich digital content—his documentation of the performances, the public’s social media posts as interpreted by a custom-built machine learning application, and Philadelphia students’ videos—to create the piece, which will live on a microsite and will be projected inside the Barnes Foundation’s Annenberg Court.
Interested in being a part of this project? Here's how. Show us where you stand—on the street, in the exhibition, or on everyday issues. Share your photo on Instagram using #personofthecrowd and your post could be featured in the exhibition.
Where do you stand?
Man Bartlett (American, b. 1981), with Brian Feeney, Kyle McDonald, and students from Central and Overbrook high schools
WE SEE / WE HEAR / WE ARE
Audio/Video installation and website