Philadelphia museum of art outreach programs

Philadelphia County PA. Pay Type:. Job Status:. Full Time. Wagner Free Institute of Science. Education Level:. PDF Subject line of the email: Science Outreach Educator Applicant-Last Name, First Name The interview process may include a phone interview, an initial virtual interview, a second interview with several staff members, and a competency assignment. Throughout the s, the museum responded to other trends in the museum world as well. It added visitor-centered amenities like a restaurant and air conditioning.

It also began hosting more blockbuster shows featuring recognizable artists like Duchamp and Vincent Van Gogh However, the PMA was more often an early adopter than an innovator. She continued to build the modern and contemporary collections with major acquisitions by artists such as Cy Twombly and Bruce Nauman b. She also acquired the Muriel and Philip Berman Collection of prints and drawings by old masters and presided over a legal victory that allowed the Johnson collection to be integrated into the collections at large.

While more spectacular according to many standards because of the quality of the work, the exhibits changed little about the standard narrative of art history. Yet the Gross Clinic campaign to keep the iconic painting in Philadelphia also showed commitment to an art world steeped equally in money and taste as in public service and inclusive civic pride.

Plans for an expansion designed by Frank Gehry b. It continued projects undertaken since the s to make the museum more welcoming to visitors, especially those with cars, and easier to navigate both inside and out. At the same time, digital initiatives and educational outreach promised to expand the reach of the museum in ways that paralleled earlier efforts to create audio guides for the galleries, develop curriculum for schools, and provide distance programs through teleconferencing and telephones.

The museum, a home to , priceless objects and an ongoing recipient of funding from the city which owned its building, always identified itself as a civic institution for Philadelphians. With a spectacular view of City Hall down the Benjamin Franklin Parkway, the steps became a must-see attraction for tourists, the lead-in on sports broadcasts and other televised events, and shorthand for the city in popular media.

Instead of creating literal common ground between elite, private benefactors and a broader public, a debate emerged over where the statue of Rocky donated by actor and star of the movie Sylvester Stallone b. Many at the museum argued that it was a movie prop, not properly art, and the statue spent years at the Spectrum arena in South Philadelphia before being placed not at the top of the steps but at the bottom in This was revealing of how the museum negotiated the interests of different audiences who sometimes struggled to find common ground in fine art, especially when the icons of one class could be pushed to the side to legitimate those of the other.

Despite the snub of Rocky, the PMA embraced more accessible, community-driven interpretations of its collections and the broader role of the art museum. The Philadelphia Museum of Art in most ways fit the paradigm of the encyclopedic art museum as it had existed in Europe and North America since the nineteenth century. It had unique origins in education and industrial design, but it quickly fell into the patterns of similar institutions that showcased monumental narratives of Western art.

Over time it became more inclusive with programs to sponsor public art and to acquire and exhibit more art by women and people of color, although funding, purchases, and outreach programs to under-served communities could only begin to address the history of an institution whose world-renowned collection reflected the hierarchical tastes of elite donors and curators.

By the twenty-first century, exhibition and program strategies sought to mobilize the museum and its collections in multiple and sometimes surprising ways, despite the heritage they most visibly embodied. Mabel Rosenheck is a writer and historian in Philadelphia. She received her Ph. Brownlee, David B. Philadelphia: Philadelphia Museum of Art, Clifford, Henry. New York: Sterlip Press, Conn, Steven. Museums and American Intellectual Life, Chicago: University of Chicago Press, Curran, Kathleen.

Los Angeles: Getty Research Institute, Kramrisch, Stella. Indian Sculpture in the Philadelphia Museum of Art. Philadelphia: University of Pennsylvania Press, Marcus, George H. Johnson Collection. Noreika, Sarah, ed. Philadelphia Museum of Art: Handbook of the Collections. Roberts, George, and Mary Roberts. Philadelphia: J. Lippincott Company, Shaw, Gwendolyn DuBois. Most of the correspondence is related to the daily operation of the Department, and includes inter-office memoranda regarding programming and general decision-making.

This sub-series also includes several five-year operations analyses, including budget information, as well as inquiries and requests from artists and their representatives. The files date from to and are arranged alphabetically. The correspondence reveals her role as leader of the department, and includes communication with potential donors, administrators from fellow institutions, and artists.

Also of interest are the various grant applications filed by the Department to support ongoing projects, as well as budgets and annual reports.

The sub-series includes records related to the artistic endeavors of Don Kaiser and Clarence Wood, who served as Department Co-Directors in addition to working as artists themselves.

The series dates from to and is arranged alphabetically by artist name, with the more general subject files housed at the end of the sub-series. Printed materials include brochures, promotional flyers, and photographs of the exhibits.

The materials date from to and are arranged alphabetically by event name.