Sunday: April 5, 2015

Galleries will be closed


11:00AM – 5:00PM
12:00PM – 5:00PM
closed Mondays


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Le Cheri


Since its founding in 1915, the PAA has presented the work of artists and designers working in a wide variety of media, from ceramics and jewelry to textiles and sculpture. Each year we present up to twelve new exhibitions featuring the work of emerging and established artists. Rather than understanding “craft” as a class of objects, the PAA encourages visitors to consider “craft” as a verb. This broader definition means that our exhibitions encompass a range of topics and types of work, from useful and decorative objects to sculpture and installations. Our diverse program of exhibitions, inspired by our setting in a masterfully crafted domestic space, can thus be communicated to visitors in engaging and unexpected ways.

Philadelphia Art Alliance provides the perfect setting for groups to experience craft and design.   Within the halls of our 100 year old home, teachers and professors have plenty of space to discuss the work with their students.

We also provide touring services, where our curator can guide you through Wetherill Mansion and share with you not only fascinating knowledge about the artwork, but the building itself.

Contact us at or call us at 215-545-4302  to arrange for Group Pricing or Tour Pricing.

Groups → 5 -10 persons 

   $.50 reduction per ticket

   10+ persons

   $1.00 reduction per ticket


Tours →5 -10 persons 

   $.50 reduction per ticket

   10+ persons

   $1.00 reduction per ticket 

+ $15 for tour guide 

MGA Partners: People Process Place

Apr 12, 2015 to Apr 26, 2015

Delainey Barclay: Paper and String

Jan 29, 2015 to Apr 5, 2015


Delainey Barclay’s recent body of work focused on air, shadow, light and space.  Over time, it has become more abstract and is now also very process-oriented by exploring the materials themselves as well. According to Barclay, to keep the large-scale pieces, which resemble textbook atomic structures, relatable in her installations, she uses childhood craft projects as a basis for the techniques used in assembling the work.  Everyday objects that can be found in abundance in most households are the materials from which she has chosen to make all the three-dimensional forms, whether it is from vintage magazines and wallpapers, or string and other craft materials. These are often paired with paintings that explore these concepts in two-dimensional form and cross the boundaries between craft and fine art, making the work approachable and giving it a familiarity.

Kate Clements: Charade

Jan 29, 2015 to Apr 5, 2015

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In her work, Kate Clements explores the ambiguity of fashion—its capacity for imitation and distinction, its juxtaposition of the artificial and the natural. She sees the life cycle of fashion as a process of creative destruction by which the “new” replaces the “old,” yet nothing is truly new. By the time a new style has been produced for mass consumption, it has been cast aside or even rejected by elite society as a bi-product of class division.


Her work focuses on what ‘things’ we choose to value and how and where we display them. The conventions of display and representation in the museum, the home, and the department store are not all that different. They create a sense of worth in the object through indicators such as velvet and boundaries to manipulate our desires. Clements’ work expresses humor through the oddity of the work while simultaneously acknowledging sadness in recognizing the futility of many material objects.


Clements’ choice of materials acknowledges and embraces ideas of imitation. Glass represents a counterfeit to jewels; wood vinyl covering cheap plywood creates the illusion of solid oak. Cut outs suggest the absence of an object that is no longer there, present only through its trace. These imitations and absences act as a veil of protection that is ultimately removed when the viewer discovers what attracts them to the work are deficiencies.

Robyn Weatherley: Trace

Jan 29, 2015 to Apr 5, 2015

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In an installation of new and recent works, Robyn Weatherley explores intangible remnants. She addresses concepts of passage, transition, and residual memory in relation to body, psyche and environment. Her imagined vestiges contemplate our unconscious and often invisible interactions with the world. From the seemingly mundane act of breathing to the emotional residues that may be left behind in the wake of a psychological experience, she aims to make visible some of what lies beyond the reaches of our ordinary senses. Her works range from a large installation of individual breaths captured in glass set adrift in delicate boats to works constructed through the meticulous build up and layering of very thin fragile shards of blown glass.

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