ICA@50: Pleasing Artists and Publics Since 1963 marks half a century of ICA’s role as one of the leading contemporary art museums in the world. Protean, dynamic, and unpredictable, this inquisitive exhibition activates our influential past and propels ICA into the future.
With 50 new presentations of sculpture, film, sound, painting, performance, writing, and video—including eighteen commissions—this exhibition gives you 50 reasons to come to ICA! Visit ICA@50 just 5 times to receive a free ICA membership.
The curatorial team consists of Chief Curator Ingrid Schaffner, Program Curator Alex Klein, Associate Curator Anthony Elms, Assistant Curator Kate Kraczon, and Whitney-Lauder Curatorial Fellow Liz Park, with contributions from colleagues across ICA.
Exhibition card timeline, ICA@50: Pleasing Artists and Publics Since 1963,
installation view, 2014, Institute of Contemporary Art, University of Pennsylvania.
Exhibition card timeline, ICA@50: Pleasing Artists and Publics Since 1963,
installation view, 2014, Institute of Contemporary Art, University of Pennsylvania.
Feelings Are Things in ICA@50: Pleasing Artists and Publics Since 1963, 2014,
Institute of Contemporary Art, University of Pennsylvania.
Linda Yun: there''s a universe in your head that leaks from your eyes and mouth
and hands in ICA@50: Pleasing Artists and Publics Since 1963, 2014. Photo: Aaron
Igler/Greenhouse Media.
Linda Yun: there''s a universe in your head that leaks from your eyes and mouth
and hands in ICA@50: Pleasing Artists and Publics Since 1963, installation view,
2014, Institute of Contemporary Art, University of Pennsylvania.
ICA@50: Pleasing Artists and Publics Since 1963, installation view, Institute
of Contemporary Art, University of Pennsylvania.
Paul Thek notebook, 1969. Feelings Are Things in ICA@50: Pleasing Artists and Publics Since 1963, 2014. Photo: Aaron Igler/Greenhouse Media.
AVANT-GARDEner: Ian Hamilton Finlay in ICA@50: Pleasing Artists and Publics
Since 1963, installation view, 2014, Institute of Contemporary Art, University
of Pennsylvania.
Salon hang and David Diao in ICA@50: Pleasing Artists and Publics Since 1963,
installation view, 2014, Institute of Contemporary Art, University of Pennsylvania.
AVANT-GARDEner: Ian Hamilton Finlay in ICA@50: Pleasing Artists and Publics
Since 1963, installation view, 2014, Institute of Contemporary Art, University
of Pennsylvania.
David Diao in ICA@50: Pleasing Artists and Publics Since 1963, installation
view, 2014, Institute of Contemporary Art, University of Pennsylvania.
AVANT-GARDEner: Ian Hamilton Finlay/ Between Object and Environment: Sculpture in an Extended Format (1969) in ICA@50: Pleasing Artists and Publics Since 1963, installation view, 2014, Institute of Contemporary Art, University of Pennsylvania.
Robert Morris: Tracks in ICA@50: Pleasing Artists and Publics Since 1963,
installation view, 2014, Institute of Contemporary Art, University of Pennsylvania.
Rosângela Rennó, Febre do Sertão (Savannah Fever), 2008, two-channel video,
21:04, Videoarte Brasil / Video Art (1975) in ICA@50: Pleasing Artists and Publics
Since 1963, installation view, 2014, Institute of Contemporary Art, University
of Pennsylvania. Photo: Aaron Igler/Greenhouse Media.
Robert Morris: Tracks in ICA@50: Pleasing Artists and Publics Since 1963,
2014, Institute of Contemporary Art, University of Pennsylvania.
Salon hang, ICA@50: Pleasing Artists and Publics Since 1963, 2014, Institute
of Contemporary Art, University of Pennsylvania.
Salon hang, ICA@50: Pleasing Artists and Publics Since 1963, 2014, Institute
of Contemporary Art, University of Pennsylvania.
Jonathas de Andrade, O Levante (The Uprising), 2012, digital video, 7:59, Videoarte
Brasil / Video Art (1975) in ICA@50: Pleasing Artists and Publics Since 1963,
installation view, 2014, Institute of Contemporary Art, University of Pennsylvania.
RAIR: Simon Kim and Billy Dufala, ICA@50: Pleasing Artists and Publics Since
1963, installation view, 2014, Institute of Contemporary Art, University of Pennsylvania.
Videoarte Brasil / Video Art (1975), ICA@50: Pleasing Artists and Publics
Since 1963, installation view, 2014, Institute of Contemporary Art, University
of Pennsylvania.
Richard Artschwager''s Hologram and salon hang in ICA@50: Pleasing Artists
and Publics Since 1963, 2014, installation view, Institute of Contemporary Art,
University of Pennsylvania.
Richard Artschwager''s Hologram in ICA@50: Pleasing Artists and Publics Since
1963, 2014, installation view, Institute of Contemporary Art, University of Pennsylvania.
Vishal Jugdeo, An Education in the Logic of the Leaves in ICA@50: Pleasing
Artists and Publics Since 1963, 2014, installation view, Institute of Contemporary
Art, University of Pennsylvania.
Vishal Jugdeo, An Education in the Logic of the Leaves in ICA@50: Pleasing
Artists and Publics Since 1963, 2014, installation view, Institute of Contemporary
Art, University of Pennsylvania.
Salon hang in ICA@50: Pleasing Artists and Publics Since 1963, 2014, installation
view, Institute of Contemporary Art, University of Pennsylvania.
RAIR: Mary Ellen Carroll/Made in Philadelphia (1980) in ICA@50: Pleasing Artists
and Publics Since 1963, installation view, Institute of Contemporary Art. Photo:
Aaron Igler/Greenhouse Media.
RAIR: Mary Ellen Carroll/Made in Philadelphia (1980) in ICA@50: Pleasing Artists
and Publics Since 1963, installation view, Institute of Contemporary Art. Photo:
Aaron Igler/Greenhouse Media.
RAIR: Mary Ellen Carroll/Made in Philadelphia (1980) in ICA@50: Pleasing Artists
and Publics Since 1963, installation view, Institute of Contemporary Art. Photo:
Aaron Igler/Greenhouse Media.
Morgan Fisher: Scratched Aspect Ratio Pieces / Hollis Frampton: Recollections,
Recreations (1986) in ICA@50: Pleasing Artists and Publics Since 1963, installation
view, Institute of Contemporary Art. Photo: Aaron Igler/Greenhouse Media.
Morgan Fisher: Scratched Aspect Ratio Pieces / Hollis Frampton: Recollections,
Recreations (1986) in ICA@50: Pleasing Artists and Publics Since 1963, installation
view, Institute of Contemporary Art. Photo: Aaron Igler/Greenhouse Media.
Morgan Fisher: Scratched Aspect Ratio Pieces / Hollis Frampton: Recollections,
Recreations (1986) in ICA@50: Pleasing Artists and Publics Since 1963, installation
view, Institute of Contemporary Art. Photo: Aaron Igler/Greenhouse Media.
Siltbreeze/ Image Scavengers (1982) in ICA@50: Pleasing Artists and Publics
Since 1963, installation view, Institute of Contemporary Art. Photo: Aaron Igler/Greenhouse
Media.
Siltbreeze/ Image Scavengers (1982) in ICA@50: Pleasing Artists and Publics
Since 1963, installation view, Institute of Contemporary Art. Photo: Aaron Igler/Greenhouse
Media.
Siltbreeze/ Image Scavengers (1982) in ICA@50: Pleasing Artists and Publics
Since 1963, installation view, Institute of Contemporary Art. Photo: Aaron Igler/Greenhouse
Media.
Deb Sokolow in ICA@50: Pleasing Artists and Publics Since 1963, installation
view, Institute of Contemporary Art. Photo: Aaron Igler/Greenhouse Media.
Deb Sokolow in ICA@50: Pleasing Artists and Publics Since 1963, installation
view, Institute of Contemporary Art. Photo: Aaron Igler/Greenhouse Media.
David Wojnarowicz: The Private Lives of Saints/ The East Village Scene (1984)
and Investigations 15: David Wojnarowicz: Paintings and Sculpture (1985), installation
view, Institute of Contemporary Art. Photo: Aaron Igler/Greenhouse Media.
David Wojnarowicz: The Private Lives of Saints/ The East Village Scene (1984)
and Investigations 15: David Wojnarowicz: Paintings and Sculpture (1985), installation
view, Institute of Contemporary Art. Photo: Aaron Igler/Greenhouse Media.
ICA@50: Bryan Zanisnik
ICA@50: Bryan Zanisnik
Elisabeth Subrin: Damage Report: Francesca Woodman: Photographic Work (1989)
in ICA@50: Pleasing Artists and Publics Since 1963, Installation view, Institute
of Contemporary Art. Photo: Aaron Igler/Greenhouse Media.
Elisabeth Subrin: Damage Report: Francesca Woodman: Photographic Work (1989)
in ICA@50: Pleasing Artists and Publics Since 1963, Installation view, Institute
of Contemporary Art. Photo: Aaron Igler/Greenhouse Media.
"Exhibition funding has been provided by the Edna W. Andrade Fund of The Philadelphia
Foundation and Toby D. Lewis.rnrnAdditional funding is provided by Nancy E.
& Leonard M. Amoroso, Dorothy H. & Martin N. Bandier, Pamela Toub Berkman & David
J. Berkman, Barbara Bertozzi Castelli, Wendy K. Fisher, Arthur M. Cohen & Daryl
Otte, Marjorie Esterow Levine & Michael J. Levine, Amanda J. & Andrew Megibow, Lori
W. & John R. Reinsberg, B. Z. & Michael H. Schwartz, David E. & Stephanie B. Simon,
and Brett A. & Daniel S. Sundheim."
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