Exhibit Review: 100 Years of Cartoons in El Universal: Mexico-United States As Seen By Mexican Cartoonists.

100 Years of Cartoons in El Universal: Mexico-United States As Seen By Mexican Cartoonists. Augustin Sánchez González. Washington, DC: Mexican Cultural Institute, September 4 – October 30, 2019.  https://www.instituteofmexicodc.org/

El Universal was Mexico’s first modern newspaper, according to the exhibit, and on its first day of publication in October 1916, the first thing readers would see was group caricature of the men writing the new Mexican constitution. The exhibit commemorates both the 50^th anniversary of editor Juan Francisco Ealy Ortiz, and the 100^th anniversary of the newspaper.

Sánchez González organized the bilingual exhibit into five sections. The first deals with the establishment of the newspaper with its early cartoonists Andrés Audiffred and Hugo Thilgmann, as well as comic strips influenced by American strips. Two original strips by Audiffred and two caricatures by Thilgmann are highlights of this section, which also includes two sheets of the original comics section of the paper, as well as reproductions of front pages with cartoons. This section is supplemented with a video of the curator discussing the exhibit. 

The second section is on the influence of the American cartoon and comic strip. A reproduction of a newspaper page by Guillermo “Cas” Castillo of comic strip characters such as the Katzenjammer Kids and Mutt and Jeff with caricatures of Charlie Chaplin is displayed with large reproduction drawings by Juan Terrazas of Cas’ drawings of the characters. Terrazas is the director of the Museum of Caricature which was a major contributor of pieces to the exhibit. This room is by far the weakest part of the show. In spite of the curator’s comments about fame of the characters during the exhibit opening, the comic strips are too far removed from the current audience’s experience to be recognizable. Only students of the form recognize the 100-year old characters today. A local connection to the exhibit venue is seen in Rogelio Naranjo’s self-caricature of as a young dandy holding the Washington Post with a headline announcing his arrival in D.C., but the placement of the piece in this section is odd, and probably just is an artifact of the layout of the rooms.

A Katzenjammer Kid

Naranjo self-portrait

The third part concentrates on caricature of American presidents, and the fourth on Uncle Sam and U.S. politics. These and the next section are by far the strongest part of the exhibit with original artwork by masters such as Antonio Arias Bernal, Ruis, Naranjo and Helioflores featured. It can be interesting and instructive to look at caricatures by artists who are not natives of the country, because they tend not to use the same tropes or exaggerated features as a local cartoonist might. Bernal’s drawing of Eisenhower is clearly recognizable, but Ruis’ cartoon of John F. Kennedy makes him look more like Superman’s Jimmy Olsen, and Efren’s caricature of Reagan does not seem accurate at all. Audiffred is still working for the newspaper at this time, and has a nice heavy ink line displayed in his drawing of Vice President Richard Nixon. Naranjo’s drawing of Jimmy Carter is firmly in the large-headed David Levine-influenced style, but with two men hanging on barbed wire behind Carter, is probably harsher than what would have appeared in an American publication. One of the pieces that resonates today is Helioflores drawing of Richard Nixon as a tree with multiple cuts in its trunk and titled, “¿Caerá? (Will it Fall?).” Although there are two good caricatures of Trump in this section, the Nixon drawing feels timely.

Ruis' John F. Kennedy

 

The section on Uncle Sam’s best piece is “Cáscaras (Banana Peel Fall)” by Bernal, showing Uncle Sam slipping on a United Fruit Company banana peel. This section however, reveals the problem of the lack of dates in the captions as the viewer will not necessarily be aware of the events that prompted the cartoon. An exception of course is Altamrino’s odd untitled drawing of Uncle Sam missing two front teeth after September 11, 2001. Kemchs’ “Alambrada (Barbed Wire), a color print of Trump’s name as barbed wire is a clever piece even if it does not feature Uncle Sam.

 

The exhibit closes with a section on masters of Mexican cartooning. Without needing to hew closely to a theme, this section is the strongest part of the exhibit. Excellent examples by all the previously named cartoonists are featured along with others by Omar, PIT, Carilla, and Dzib. 

Overall the exhibit is an interesting and educational introduction to one particular niche in Mexican cartooning. Additional photographs can be seen at https://flic.kr/s/aHsmGJtK1B. The exhibition is open Monday – Saturday on 16^th St NW, and includes a free booklet. The historic mansion that holds the exhibit is available for a guided tour as well, and features striking murals by Roberto Cueva del Río of Mexican history up the three levels of the main staircase.  I believe there is an accompanying book and will provide additional details if I can confirm that.

Mike Rhode

(This review was written for the International Journal of Comic Art 21:2, but this version appears on both the IJOCA and ComicsDC websites on September 6, 2019, while the exhibit is still open for viewing.)

Review: Black and White / Thoughts in Cartoon by Mohammad Sabaaneh

by Mike Rhode

Black and White / Thoughts in Cartoon by Mohammad Sabaaneh, Washington, DC: Jerusalem Fund Gallery Al-Quds. November 17 – December 15, 2018. https://www.thejerusalemfund.org/21159/november-cartoons

Mohammad Sabaaneh is a self-taught Palestinian cartoonist, who, like all good editorial cartoonists, often finds himself in trouble with both the Israeli and the Palestinian governments. Notwithstanding the need to teach art, and the regular seizure of his artwork when he returns from travelling (and thus he says he only carries reproductions personally), Sabaaneh has been able to compile a book, White and Black: Political Cartoons from Palestine (JustWorldBooks, 2017; $20). While touring the East Coast for this publication, he stopped in Washington to introduce a small exhibit of his linocut art.

Malcolm

Linocut is a negative printing process made by using sharp tools to engrave a piece of linoleum, and then inking it, and pressing it into paper. Sabaaneh was taught the technique by World War 3 Illustrated’s Seth Tobocman in New York. He took the gravers back with him to Palestine, found linoleum from a hospital’s floors, and found a substitute for the ink that was unavailable at home, and began making art. In his artist's statement, he wrote, “When I do linocut, I feel like I am giving a gift to myself! It is so exciting when you carve the linoleum, then cover it with the ink, then press it… and just waiting to find the result. No-one around you understands what exactly you are doing. I feel that I am creating a version of myself as well as creating art. The amount of wet black ink on the paper reflects me, and reflects the world around us. My daily political cartoon is influenced by the linocut technique and I like the results. Linocut is also one of the most important techniques for producing political posters.”

The Weight of Occupation

The exhibit consists of fewer than twenty pieces hung around hallways in a small office area, some of which seemed thematically out of place such as “Malcolm” which is a portrait of the 1960s black American activist Malcolm X. Others are what one expects from a cartoonist who refuses to collaborate with those he considers occupiers, to the extent of turning down exhibits with Israeli cartoonists in Europe. “The Dictator’s Melody” in which a uniformed man conducts an orchestra as bombs fall behind them, or “The Weight of Occupation” which shows a bald man carrying a slab engraved with tanks and bombs, fit into Sabaaneh’s main concern – freedom for Palestine. However, he notes, “I think as a Palestinian cartoonist I should not rely on my topic. Yes, Palestine is one of the most important topics around the world, and that has helped me to spread my art all around the world. But as an artist I believe that my art should consist not just of a strong message, but it also should be good art.”

The Dictator’s Melody

I found the strongest pieces in the show to be two pieces, “Resisting settler colonialism everywhere” and “She carries remembered worlds,” each depicting generic Palestinian people, a man and a woman, with their bodies fading into buildings. Both evoke a strong sense of place and purpose, more so than “Can you chain a heart?”, an image of a heart wrapped in chain. The exhibit also contains a long “History of Palestine Frieze” which is about five feet long and shows a history of the occupation via cartoon figures. Sabaaneh says he plans to do more large-scale works like this, and has recently completed one on the subject of women.

She carries remembered worlds

Resisting settler colonialism everywhere

 

Can you chain a heart?

At the exhibit opening, Cartoonist Rights Network International’s Bro Russell interviewed Sabaaneh, who then also took questions. (The Fund has said that a transcript will be soon made available on their website). The audience was made up of students and people already familiar with the Palestinian cause, which Sabaaneh says actually works against him, because most of the people who come to see him at a talk or an exhibit are already convinced and do not need to argue with him or his work. For those not familiar with his work, the exhibit and the book are a good introduction to a world where political cartoonists still matter enough to be regularly threatened with more than job loss.

History of Palestine Frieze segment

(This review was written for the International Journal of Comic Art 20:2, but this version appears on both the IJOCA and ComicsDC websites on November 18, 2018, while the exhibit is still open for viewing.)

Review: Sense of Humor exhibit at National Gallery of Art

by Mike Rhode

Sense of Humor: Caricature, Satire, and the Comical from Leonardo to the Present. Jonathan Bober, Andrew W. Mellon senior curator of prints and drawings; Judith Brodie, curator and head of the department of American and modern prints and drawings; and Stacey Sell, associate curator, department of old master drawings. Washington, DC: National Gallery of Art. July 15, 2018 – January 6, 2019. https://www.nga.gov/exhibitions/2018/sense-of-humor.html

The National Gallery of Art describes its first exhibit of cartoon art thusly:

Humor may be fundamental to human experience, but its expression in painting and sculpture has been limited. Instead, prints, as the most widely distributed medium, and drawings, as the most private, have been the natural vehicles for comic content. Drawn from the National Gallery of Art's collection, Sense of Humor celebrates this incredibly rich though easily overlooked tradition through works including Renaissance caricatures, biting English satires, and20th-century comics. The exhibition includes major works by Pieter Brueghel the Elder, Jacques Callot, William Hogarth, James Gillray, Francisco de Goya, and Honoré Daumier, as well as later examples by Alexander Calder, Red Grooms, Saul Steinberg, Art Spiegelman, and the Guerrilla Girls.

James Gillray, Wierd-Sisters; Ministers of Darkness; Minions of the Moon, 1791

Any exhibit on humor that covers 500 years (from 1470 through 1997), two continents and at least five countries is going to have to deal with the vagaries of what humor actually is. Even within my lifetime, what is considered permissible humor in America has changed, sometimes drastically. The exhibit was divided into three galleries – according to their press release (available at thewebsite) the first "focuses on the emergence of humorous images in prints and drawings from the 15th to 17th centuries. Satires and caricatures gained popularity during this era, poking fun at the human condition using archetypal figures from mythology and folklore. While not yet intended as caricatures of individuals, Italian works reflected the Renaissance interest in the human figure and emotion." To modern eyes, drawings of dwarves or grotesques do not really appear to be either humorous or a cartoon, but the curators make the arguments that the foundations of caricature and satirical cartooning are laid in this period. 

William Hogarth, Strolling Actresses Dressing in a Barn, 1738

The second gallery begins featuring artists that most of us would consider cartoonists as it "continues with works from the 18th and 19th centuries, when certain artists dedicated themselves exclusively to comical subjects." In this room one found a good selection of the British masters Hogarth, Rowlandson, Gillray and Cruikshank, as well as Goya and Daumier (and oddly enough the painter Fragonard who drew an errant lover hiding from parents in an etching, The Armoire). This is the most interesting part of the exhibit for historians of comics, and the strong selection of etchings and drawings is worth studying since one rarely gets to see the contemporary prints, or even the original drawings such as Cruickshank's pencil and ink drawing Taking the Air in Hyde Park (1865). The release also notes, "Included in the exhibition is Daumier's Le Ventre Législatif (The Legislative Belly) (1834), a famous image that mocks the conservative members of France's Chamber of Deputies," but the exhibit does not note that the sculptures Daumier also made of the Deputies is on permanent display in another gallery of the museum -- a lost opportunity.

The final gallery "focuses on the 20th century and encompasses both the gentle fun of works by George Bellows, Alexander Calder, and Mabel Dwight and the biting satire of Hans Haacke and Rupert García. Works by professional cartoonists such as R. Crumb, George Herriman, Winsor McCay, and Art Spiegelman are presented alongside mainstream artists like Calder, Roy Lichtenstein, Jim Nutt, and Andy Warhol." Of most interest were the McCay (Little Nemo in Slumberland: Climbing the Great North Pole) and Herriman (Ah-h, She Sails Like an Angel, 1921) originals, both of which are worth examining in detail. This section also showed the paucity of the NGA's collections in modern comic art. These are joined by a print by Art Spiegelman, and several Zap Comic books, recently collected and described in standard art historical terms:

Robert Crumb (artist, author), Apex Novelties (publisher)

Zap #1, 1968

28-page paperback bound volume with half-tone and offset lithograph illustrations in black and

cover in full color

sheet: 24.13 x 17.15 cm (9 1/2 x 6 3/4 in.)

open: 24.13 x 34.29 cm (9 1/2 x 13 1/2 in.)

National Gallery of Art, Washington, Gift of William and Abigail Gerdts

The fact that the Gallery still can not bring itself to use the word 'comic book,' the standard term as opposed to paperback bound volume, unfortunately shows that it has far to go in dealing with the twentieth century's popular culture rather than fine art. Still, the exhibit is interesting, and well-worth repeated viewings which are almost necessary to understand the material from the first four centuries of the show.

(This review was written for the International Journal of Comic Art 20:2, but this version appears on both the IJOCA and ComicsDC websites on November 16, 2018, while the exhibit is still open for viewing. For those not in DC, Bruce Guthrie has photographs of the entire exhibit at http://www.bguthriephotos.com/graphlib.nsf/keys/2018_07_29B2_NGA_Humor)

Superheroes: Good and Evil in American Comics (2007) exhibit review

"ZAP! POW! BAM! The Superhero: The Golden Age of Comic Books, 1938-1950," the exhibit curated by the late Jerry Robinson has arrived at the Jewish Museum of Maryland in downtown Baltimore. I reviewed an earlier, smaller version of the show for IJOCA in 2007 (issue 9:1) which is reprinted below. The current exhibit includes some different pieces and some art mentioned here, such as Hasen's Dondi page aren't in the 2013 version, although a superhero page by Hasen is. - Mike Rhode

Superheroes: Good and Evil in American Comics. Jerry Robinson with Ali Gass. New York, NY: Jewish Museum, September 15, 2006-January 28, 2007.

    As Art Spiegelman pointed out when withdrawing from Masters of American Comics, this exhibit was a smaller version of Robinson’s 2005 "ZAP! POW! BAM! The Superhero: The Golden Age of Comic Books, 1938-1950." What Spiegelman neglected to mention is that Robinson most likely was asked to step in and provide his exhibit to literally fill the space left by Spiegelman’s withdrawal. The curators attempted to recast it to better fit the venue of the Jewish Museum by noting the legacy of Jewish creators in superhero comic books. Quoting from the press release, “with these fictional heroes, comic book creators often reflected their own lives as immigrants– frequently Jewish immigrants from European countries. Keenly aware of their own sense of cultural marginalization, these artists struggled to define themselves in terms of mainstream American culture. By extension, they created characters whose identities largely reflected this aspect of the immigrant experience.” These argument is an old one – Jules Feiffer made it around forty years ago – but the exhibit struggled to make the point, although the text by Robinson and Gass was well done.

    However, Superheroes was an enjoyable look at comic book art, and if taken on those terms, worked just fine. The original art by Fred Ray for the iconic Superman #14 cover showing Superman in front of an American shield as an eagle lands on his forearm remains stirring, although perhaps not as much so as it did in the first days of World War II. Many of Jerry Robinson’s golden age collaborators and friends at DC Comics (National Periodical Publications at the time) were represented including Mort Meskin, Joe Shuster, Simon & Kirby, Joe Kubert, as well as those who worked primarily for other companies like Mac Raboy, Alex Schomburg, and Lou Fine.  Mort Meskin’s “Bombshell”, a hand-colored splash page from Boy Comics was especially fine and drew attention to the fact that more widespread notice should be taken of Golden Age artists. Other pieces of note were a model sheet for Captain America from 1941, probably by Joe Simon, Charles Biro’s cover of Daredevil Comics #6, an early Dondi page by Irwin Hasen – oddly out of place in a superheroes show, Alex Schomburg’s cover to Human Torch #16, and Mort Meskin’s concept page for the Vigilante. Of special historic interest were Bill Finger’s script from Batman #31, Robinson’s original Joker sketch, and a Siegel & Shuster profile of Superman inscribed to Robinson. Joe Siegel’s typewriter occupied some weird iconic space as it should; it was just a typewriter, but... In some ways, this exhibit seemed to be a selection of Jerry Robinson’s Collection’s Greatest Hits, and that was just fine -- educational and a lot of fun.

Indonesian cartoonist Eko Nugroho in New York

EKO NUGROHO & WEDHAR RIYADI
Tales from Wounded Land


Eko Nugroho and Wedhar Riyadi are two of the most noted members in Indonesian society of our generation. For this exhibition, they each will present sensitive works that reflect their personal take on Indonesian society and popular culture, while exploring their own multifaceted inner worlds.

Using cartoon as his foundation, Eko Nugroho explores various mediums, such as painting, drawing, embroidery, mural and animation. He approaches sociopolitical issues with a humorous and cheerful perspective. He simultaneously, manages to successfully transmit a cynical tone that forces his critics to face current governmental, social and global institutional issues.

Through his exploration of animated images, Wedhar Riyadi has adopted the art of comic as his chosen language of expression. With flat lines and color, he builds realistic impressions through cartoon using drawing and painting as his primary medium. Wedhar’s presentation of personal experiences that originate in his work make him one of the most promising young Indonesian contemporary artists of today.

Tales from Wounded Land will be on view at Tyler Rollins Fine Art from May 14 – June 27, 2009

VIEW THE EXHIBITION
529 WEST 20 STREET, 10W NEW YORK, NY 10011
info@trfineart.com
www.trfineart.com

Animation exhibit at Toonseum

CONTACT: Joe Wos
Organization: The ToonSeum
Phone number: (412)325-1060

Explore The World of Animation B.C.

Pittsburgh, The ToonSeum and the Art Institute of Pittsburgh present Animation B.C. (Before Computers!
Animation B.C. features a century of animation art and artifacts, including a rare production sketch of Gertie the Dinosaur created circa 1914, heralded as the first animated character.
The show includes original storyboards, background paintings, production cels and sketches from some of the most popular 2d animated characters in film, television and commercials. Characters old and new are featured, from Mickey to Spongebob!

Animation B.C. gives a glimpse into the hand crafted artistry and process behind these classic characters.
The exhibit is much more than drawings and cels, rare sheet music from the Road Runner give an insight into the important role music plays in animation. Artifacts on display include a desk from Disney’s Hyperion Studio. The desk was used by Fantasia director Paul Satterfield on projects including Bambi, Fantasia, and the Ugly Duckling.

While there are many great characters and pieces in this show, Gertie is the real star. Winsor McCay, an early innovator in the field of animation, was no doubt inspired by the dinosaur mania that swept the country in the early 1900’s. This fascination with dinosaurs was fueled primarily by the Carnegie Museum of Natural History and their discovery of the diplodocus. Gertie, herself a diplodocus, toured the vaudeville circuit in 1914 along with creator Winsor McCay in a unique show combining a live on stage performance and animation in a show that wowed audiences, and left them bewildered at what was dubbed one of the great wonders! Now almost 100 years later Gertie returns to Pittsburgh.

"This exhibit is the first collaboration between the Art Institute of Pittsburgh and the ToonSeum. It really presents a learning opportunity for both the students and general public to explore the art of animation and gain a new appreciation for animation before computers." Said ToonSeum Executive Director and Exhibit Curator, Joe Wos.

Animation B.C. is produced for the Art Institute by the ToonSeum, Pittsburgh’s Museum of Cartoon Art and Curated by Joe Wos.

Animation BC: Before Computers
Exhibition Dates: May 6 through June 30, 2009
Opening Reception: Wednesday, May 13

GALLERY HOURS: (admission is free and open to the public)
Monday through Thursday: 9 a.m. To 7 p.m.
Friday: 9 a.m. To 5 p.m
Saturday: 9 a.m. To 4 p.m.
Closed Sunday



==============================================
Our mailing address is:
The ToonSeum
10 Children's Way
Pittsburgh, PA 15212

Our telephone:
412-325-1060

Reviewer wanted for London Private Eye exhibit

The exhibit details are : Barry Fantoni: Public Eye, Private Eye is at the Thomas Williams Fine Art Gallery, London W1 (020-7491 1485), from 22 April to 22 May

For more info, see "Forza Fantoni! The art of Private Eye's cruel cartoonist; Private Eye's best-known illustrator is also a poet, musician, playwright and painter with a self-destruct button as red as his shoes." By Ian Burrell.

Reviewer wanted for NYC/SF LeRoy Neiman show

LeRoy Neiman's Encore Femlin, at Franklin Bowles Galleries in NYC and San Francisco. These are the little cartoon drawings from Playboy.

San Francisco exhibit reviewers needed

The Cartoon Art Museum in San Francisco is having two exhibits that I would like reviewers for. The Art of Stan Sakai (Feb 27-July 5) and Watchmen (Feb 21-July 19). Contact me if you're interested.

Preliminary list of exhibit and media reviews for IJOCA 11-1

Here's the exhibit and media reviews that we have in hand and have been edited.

Zap! Pow! Bam! The Superhero: The Golden Age of Comic Books, 1938-1950. Jerry Robinson. Beachwood, Ohio: Maltz Museum of Jewish Heritage, Sept. 16, 2008-Jan. 2009.
Mark C. Rogers

R. Crumb’s Underground. Todd Hignite and "coordinated at the ICA by Associate Curator Jenelle Porter.” Philadelphia: Institute of Contemporary Art, Sept. 5 – Dec. 7, 2008.
Michael Rhode

Snoopy as the World War I Flying Ace. Jane O’Cain. Produced by the Charles M. Schulz Museum and Research Center and toured by ExhibitsUSA. College Park, Maryland: College Park Aviation Museum, Aug. 30-Nov. 30, 2008.
Jeffrey S. Reznick

Life in Boxes: Comic Art & Artifacts, an exhibition selected from the Steve Rothman Collection of Comics, Cartoons, & Graphic Novels. Steven Rothman. Philadelphia: Van Pelt-Dietrich Library Center, University of Pennsylvania. Oct. 27, 2008 - March 22, 2009.
Derik Badman

Punisher: War Zone. Directed by Lexi Alexander, starring Ray Stevenson, Wayne Knight, Dominic West. Marvel Studios/Lions Gate, 2008.
Robert G. Weiner

The Spirit. Directed by Frank Miller. Lionsgate, 2008. Starring Gabriel Macht, Samuel L Jackson, Scarlet Johanson, Eva Mendes, Jami King. Based on the comic strip created by Will Eisner.
Robert G. Weiner

Zippy exhibit in Pittsburgh PR

UPDATE - I've got a reviewer, and Bill Griffith can't make it due to illness.

I'm hoping for a reviewer for this exhibit.

Zippy's Pittsburgh and More: The Art of Bill Griffith

At The ToonSeum, February 7 to March 31, 2009

PITTSBURGH -- The ToonSeum, Pittsburgh's museum of cartoon art, presents Zippy's Pittsburgh and More: The Art of Bill Griffith, February 14 through March 31, 2009.

Zippy's Pittsburgh and More is an exhibit of Griffith's original comic art, with several strips featuring Pittsburgh landmarks as settings. "Our location at the Children's Museum has a certain surreal quality that lends itself well to Zippy," said ToonSeum Executive Director, Joe Wos. "Giant inflatable ice cream dinosaurs, twenty-foot cranes made of old gas station signs, and of course a museum of cartoon art, all seem to fit quite well in Zippy's world!" The artist agrees, saying "For me, Zippy is funniest when his craziness bumps up against the 'real world', which is why I put him in diners and have him talking to Bob's Big Boy. It doesn't get much more real than Pittsburgh, PA - it's Zippy Country!"

Zippy the Pinhead, one of the unlikeliest daily comic strips in the history of newspapers, initially appeared in underground comix in the early 1970s, and was first published as a daily strip in the San Francisco Examiner in 1985. The following year, King Features picked up the strip for worldwide syndication. Zippy's creator Bill Griffith describes the character as the "wise fool," who "knows nothing at all and everything at once." His twisted response to all forms of high and low culture forces us to take a fresh look at words and images that permeate our consciousness daily.

Bill Griffith will appear for a special book signing at Phantom of the Attic Comics in Oakland, on Saturday, February 21, from 2:00 to 3:30 p.m. The book signing is sponsored by Phantom of the Attic and Copacetic Comics.

The ToonSeum is Pittsburgh's museum of cartoon art, currently housed within the Children's Museum of Pittsburgh (10 Children's Way, on the North Side). Entry to the ToonSeum is free with paid admission to the Children's Museum of Pittsburgh (Adults- $10, Children under 18 and Seniors - $9, Children under 2- Free). Museum hours are Monday-Saturday 10:00 a.m. to 5:00 p.m., and Sunday 12:00 to 5:00 p.m. For more information, please visit www.toonseum.com or call(412)325-1060

Pittsburgh City Paper is the media sponsor for Zippy's Pittsburgh and More.


The ToonSeum at the Children’s Museum of Pittsburgh
10 Children’s Way
Pittsburgh, PA 15212
(412)325-1060