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The University of the Arts’ Invisible City: Philadelphia and the Vernacular Avant-garde will highlight and explore Philadelphia’s significant contributions to visual culture in the 1950s through the 1970s in an exhibition, a publication, and performances. The project will invite audiences to envision Philadelphia as “a city of firsts,” which produced the first Pop Art exhibitions, innovations in architecture and urban planning, one of the country’s first rock music magazines, and a substantial post-war growth of art schools. On view at both the University of the Arts’ Rosenwald-Wolf Gallery and the Philadelphia Art Alliance, Invisible City will include works by major architects, photographers, sculptors, painters and conceptual artists of the period, including Denise Scott Brown, Rafael Ferrer (1993 Pew Fellow), Ree Morton, Italo Scanga, and Robert Venturi. The exhibition will be enriched by time-based ephemeral pieces such as posters, pamphlets, and films. In examining the region’s performance art history, Alex Da Corte (2012 Pew Fellow) will reconstruct Allan Kaprow's important happening Chicken at the Gershman Y, where it was originally performed in 1962. Invisible City builds on extensive research and website documentation that was initiated by the university’s director of exhibitions, Sid Sachs, and supported by a 2014 Center Discovery grant.

For more information, please visit the exhibition website.

Image: Mercedes Matter begins teaching at Philadelphia College of Art





featuredThe Philadelphia Art Alliance at The University of the Arts: Uniting Two Legacies


The University of the Arts and the Philadelphia Art Alliance have been vital institutions within the City’s cultural community for over a century. Nurturing and supporting the arts has been the cornerstone of both organizations, whether through the education of artists themselves or through cultivating audiences who have grown to appreciate them. Within the history of each institution, a multidisciplinary focus has made them unique cultural establishments in Philadelphia, providing a place for students, professional artists, and arts aficionados to explore and understand all of the disciplines under a single umbrella.


Uniting Two Legacies includes a brief look at the founding and history of the institutions, and their subsequent evolution; it also provides a closer examination of specific events and notable exhibitions, highlighting the strengths of each institution. Given the multidisciplinary nature of both organizations, the exhibition equally explores all disciplines over the course of the last century, including the visual arts, crafts, design, music, dance, and theater.



The University of the Arts is committed to inspiring, educating, and preparing innovative artists and creative leaders for the arts of the twenty-first century.


Uniting two century-long legacies, The Philadelphia Art Alliance at The University of the Arts is a center that advances the work of makers, performers, and practitioners. With a deep-rooted understanding of the arts as interrelated allies, we seek new perspectives and generate experiences that investigate experimental impulses. Our fluid approach to the arts reflects our learning environment and cultivates inventiveness, originality, and imaginative expression.



Curated by Julie Courtney

November 30, 2017 to January 7, 2018

Opening Reception November 30, 6 pm to 8 pm


The Philadelphia Art Alliance is pleased to present the work of the celebrated and beloved Philadelphia artist Vaughn Stubbs (1946-2016). Known to work in a variety of media, Stubbs produced a variety of paintings, sculptures, quilts, bags and jewelry. His paintings reflect an interest in numerous subjects, ranging from Greek mythology and European Impressionism to pop culture iconography. His jewelry and sculptures, including a series of large-scale urns, incorporate common materials such as plastic beads, feathers, and children's toys, to create intricate and playful objects that also reflect a sophisticated attention to detail.

Stubbs is also remembered for his generous spirit and his close ties to friends, family, and the community in Philadelphia. For decades, he taught both children and seniors, was central to Form in Art, the Philadelphia Museum of Art's long standing program for the visually impaired, tirelessly sharing his talents and skills with others. The exhibition, curated by Julie Courtney, includes a selectionof work from the collections of Jessica Berwind, Erik Bonovitz, Julie Courtney, Helen Drutt, John Favreau, Raquel Higgins, Kocot and Hatton, Nancy Lisagor and Frank Lipsius, Cynthia Stubbs Hill, Carol Wisker and Howard Brunner, and the Stubbs Family. Generous support has been provided by Jessica Berwind, the Fleisher Foundation, Nancy Hellebrand Blood, Nancy Lisagor and Frank Lipsius. A publication on his life and work will accompany the exhibit.

Vaughn Stubbs attended the Pennsylvania Academy of the Fine Arts and received his certificate in painting in 1972. His solo exhibitions include Some Recent, Some Not So: Works by Vaughn Stubbs, Goggle Works Center For The Arts, Reading, PA (2008); Gods, Myths, Legends, Icons, Wilson Art Gallery, Rowan College of New Jersey (1994);Vaughn Stubbs at the North Star, Philadelphia, PA (1992);Vaughn Stubbs: New Jewelry, Philadelphia Art Alliance, Philadelphia, PA (1989);Creativity, North Side Bank Gallery, Brooklyn, NY (1988);50 Friends, Painted Bride Art Center, Philadelphia, PA (1986);Persistence of Memory, Kling Gallery, Philadelphia, PA (1984);and Wildflowers Gallery Space, Philadelphia, PA. He has been in several prominent group exhibitions at the Stedelijk Museum, The Netherlands, Museum voor Hedendaagse Kunst's-Hertogenbosch, the Netherlands, Museum of Fine Arts Houston, the Philadelphia Museum of Art, the Pennsylvania Academy of the Fine Arts, the Abington Art Center, Sande Webster Gallery, and Art in City Hall, Philadelphia, among many others. Stubbs work is in the public collections of The Hermitage, St. Petersburg, Russia, Los Angeles County Museum of Art, the Paul Robeson House, the Library for the Blind, Philadelphia, Afro-American Cultural and Historical Museum, Philadelphia, and the Philadelphia Convention Center. Private collectors include Helen Williams Drutt English, Janet Fleisher, Joan Baez, Lily Tomlin, Mark Graves, Jessica Berwind, Carol Rutenburg, and Samuel Hopkins.


Stubbs was a notable instructor at institutions throughout the Philadelphia region, including the Institute of Contemporary Art, Philadelphia; the Philadelphia Museum of Art; the Senior Adult Activity Center, Norristown; Rowan University; St. Rita's Senior Center; the Philadelphia Art Alliance; Church Down the Way; the School District of Philadelphia and the Archdiocese of Philadelphia Office of Catholic Education.


Images: Vaughn Stubbs, Urn, clay, mixed media and found objects, Collection of Jessica Berwind; Vaughn Stubbs, Brooch, mixed media and found objects, Collection of the Stubbs Family; Vaughn Stubbs, Untitled, papier mache and found objects, Collection of Nancy Lisagor and Frank Lipsius. All photos: Constance Mensh Photography

Monument Lab

Sep 13, 2017 to Nov 20, 2017

Monument Lab

@ the Art Alliance, Rittenhouse Square
Featuring Sharon Hayes and Alexander Rosenberg


Monument Lab, a citywide public art and history exhibition produced by Mural Arts Philadelphia, takes place across the five squares and in five neighborhood parks throughout the City.The PAA will feature two artists, Sharon Hayes and Alexander Rosenberg, that were selected to work in Rittenhouse Square. In the galleries at the Art Alliance, the artists reveal singular insights into their projects, share additional artifacts and documentation from their engaged research, and open windows onto their creative processes and monumental thinking.

The Built/Unbuilt Square by Alexander Rosenberg offers an augmented reality and site-specific journey into Rittenhouse Square’s historical landscape. Passersby are invited to look into the past of the square through a pair of viewfinders each facing inward at the park. Within the scope of each viewfinder, the park is layered with embedded archival images of historical gatherings, renderings of constructed and proposed structures from the past, and animations of the square’s vitality and mythos.

If They Should Ask by Sharon Hayes is a temporary monument located in Rittenhouse Square that addresses the absence of monuments to women in the city of Philadelphia. The project proposes that the persistent and aggressive exclusion of women from this form of public recognition perpetuates historical misunderstandings and reproduces inequality in the City’s economic, social, political and cultural spheres.


Sep 13, 2017 to Nov 19, 2017


Holly Hanessian • C.Pazia Mannella
Mary Smull • Summer Zickefoose


For centuries, artists have shared their knowledge of techniques and the exploration of craft-based materials through performance. This use of demonstration to impart information is different for artists today who approach the very process of creating an object as the significant aspect of their practice, rendering the resulting object the remains of the processes used to create them. This group exhibition highlights artists who raise questions about crafting objects and their relation to process or performance, asking viewers to participate and take an active role in creating meaning.



Holly Hanessian's installation, Touch in Real Time explores the power of touch at the crossroads of art, emotion and neuroscience. It is a multi-year project that is part social engagement and part scientific research ending in a series of exhibitions. It explores the intimate act of touch and its significance in a digitally mediated age. The project began in the spring of 2012 in Maine at two residencies, the MacNamara Foundation, and the Watershed Center for the Ceramic Arts. Hanessian repeatedly went to the residents and asked to shake and then hold their hands with clay in it. Each handshake contained a wet piece of clay, imprinting each participant's hand with her own. She held onto their hand for 15-20 seconds, the time it takes for the bonding hormone, oxytocin to be released into the body. Each time, there were stories shared.

In April of 2013, Hanessian went to Pittsburgh and worked at a lab of behavioral neuroscientists at the University of Pittsburgh as the artist in residence for TREND (The Transdisciplinary Research in Emotion, Neuroscience, and Development). Along with Dr. Greg Siegle, she examined data retrieved from brain image patterns using EEG and fMRI while the handshake was taking place. This information, along with the documentation of her interactions at MacNamara and Watershed, are the basis of the resulting installation.



Contemporary and historical textile patterns, embroidery and garment designs are the inspiration for C. Pazia Mannella's sculptures. Common contemporary materials, zippers, coffee filters, children's barrettes, construction-marking tape, ribbon and mirrored paillattes, are used to mimic the splendor of historical textiles and architectural embellishment. At the PAA, Mannella will present her Give and Receive series, which is a group of garments composed of machine-sewn coffee filters and thread. To complete the sculptures, visitors are invited to try on the pieces. As the artist states, wearing her work allows the viewer to "reflect upon contemporary industrialization and global outsourcing of material processes impacting the environment, as well as the influence of textile and chemical dye polluting and the disposable nature of contemporary fashion and home furnishing industries."



Mary Smull collects unfinished needlepoint projects from online auction sites, thrift stores, and rummage sales, and finishes them - but using only white yarn. Her intervention takes these projects to their intended conclusion structurally, but not visually. The original anonymous maker's accomplishment is thus preserved; the labor they invested is reclaimed. Smull attempts to remind the viewer that the work, whether it be by professional or a hobbyist, will never be fully complete without the viewer's awareness of labor and process.

In addition to finishing unfinished needlepoint, she has formed The Society for the Prevention of Unfinished Needlepoint (SPUN). SPUN is a textile welfare organization dedicated to eliminating the worldwide phenomenon of unfinished needlepoint. Through the SPUN website, members can give away their unfinished needlepoint or pick up an unfinished project to complete. Stories about the origin and history of specific unfinished needlepoint projects can be shared. Based on a social activism model, the SPUN Kiosk event encourages the public to volunteer by learning to needlepoint and stitching white yarn on unfinished needlepoint at the Kiosk, and also to "give". As Smull explains "Despite the humor of SPUN, there is also a very sincere desire to value of the work of anonymous embroiderers, to reclaim their work before it is lost forever to the scrap heap. I hope SPUN can provide a forum to share - with levity - the experience of loss family and friends often feel when an unfinished project exists after the maker has died.



The rural, American landscape is often the setting both literally and figuratively for the work of Summer Zickefoose. For the artist, the landscape represented as type of archaeology, stating "there is the place, its culture, and the objects and materials used by that culture. I believe these objects and materials hold within them a multitude of secrets." Her installations range from ceramics, sculpture, installation, performance, and video. Americana and the art traditions that correspond with it are woven throughout every project. For the project Remaining Cloth,Zickefoose used towels sewn in a white, cotton fabric, which she then treated with wet plaster and hung on a nail-each time the form changing based on how the towel was handled in that action. The towels become physical memories of what would usually be a fleeting moment. Their repetition suggests a series of repeated actions or days, a monotonous chore completed, but yet their changing forms defy that monotony.

Her second project at the PAA, Cockleburs and Pleasantries, is composed of collected porcelain cups re-fired with decals, wood, spices, herbs, various food items, and gathered organic materials.The text on the cups is taken from Midwestern and rural women's diaries, from the 19th Century to present. The artist then asked various women to transcribe each excerpt in their own handwriting. For Zickefoose "the writing continues to represent a multitude of women's experiences suffused through the personality of handwriting. This decorates the surface of the cups, while the interiors are filled with textures, smells, and colors of materials found both in Nature and in the kitchen...The materials and objects in the cups equally represent exterior and interior spaces, while they singularly serve as a suggested counterpart to the sentiment expressed in the text."

Public Reception: Thursday, June 8, 6-8 pm

Artists' talk: June 7 at 3pm

Since 2012, Anna Boothe and Nancy Cohen have collaborated on an evolving project entitled "Between Seeing and Knowing". This extensive piece, comprised of hundreds of glass objects, takes as a starting point the artists' long standing interest in Tibetan Buddhist paintings and the integration of their otherwise very separate studio practices. The installation reinterprets the symbolism in these Buddhist paintings to create a work that reflects the organizational structure and palette of the paintings, as well as the sense of expansiveness that is characteristic of Buddhist ideology.


The works featured in this exhibition use a variety of techniques, such as kiln-casting, slumping, fusing, blowing, hot-sculpting and sand-casting. The comprehensive understanding of these processes, each selected to achieve a specific result for every single element, is the result of working in the medium of glass for both artists: Boothe for over 35 years and Cohen for more than 20. 


For this exhibition at the Philadelphia Art Alliance, Boothe and Cohen have enlarged the original project in response to the architectural details and natural light in the first floor galleries of PAA's Wetherill mansion. Once a historic home, the galleries have retained much of their original features as a sitting room, parlor and library.

Sewn Line: Nancy Agati

Jun 1, 2017 to Aug 20, 2017

Sewn Line: Nancy Agati

Nancy Agati's work engages with nature's transformations and cycles, particularly the passage of time. She combines sewing, collage, stencilling, and sculpture in a unique drawing practice that emphasizes patterns and repetition. In her embroideries, the natural and the human merge, the delicate hand stitching evoking the veins of a leaf or light reflecting off water. Agati asks us to slow down and observe these subtle details of nature's craftsmanship-and her own.

Temporary Stay: Kristen Neville Taylor

Jun 1, 2017 to Aug 20, 2017


Temporary Stay: Kristen Neville Taylor

In Ursula Le Guin's groundbreaking feminist essay "Carrier Bag Theory of Fiction," the author suggests that stories are containers, or carrier bags, of meaning. Fundamentally feminine rather than masculine, Le Guin's model for storytelling inspired Neville Taylor to create a series of containers organized according to the model of a story arc-exposition, rising action, climax, falling action, and resolution. Bringing together two- and three-dimensional work, Neville Taylor's installation challenges us to reconsider our assumptions about nature, narrative, and culture.


Jan 26, 2017 to Apr 30, 2017

Featuring: Sun Young Kang, Dawn Kramlich, Elizabeth Mackie, and Susan White.

The four artists of Paperscapes explore the possibilities of paper as a medium that straddles the divide between the analog past of print and our current digital age. Using a mixture of traditional and experimental techniques, these artists create immersive environments that challenge our traditional understanding of paper as simply a vehicle for the printed word. Incorporating light, shadow, sound, and texture, the works of Paperscapes respond to the architectural setting of the Art Alliance, transforming its turn-of-the-century domestic interior into an otherworldly space.

A Curious Nature presents the work of four artists who employ craft-based processes and materials that examine the ongoing changes in the relationship between humans and nature, as well as the artificially constructed (i.e technologically generated) from the hand made. Combining fiber with other craft-based materials (ceramics, installation and photography) A Curious Nature features the work of Caitlin McCormack, Linda Cordell, Tasha Lewis, and Emily White.


This exhibition embraces the recent resurgence of animal studies as part of cultural studies and the humanities, giving it fresh relevance contemporary visual arts. Theorists have recently begun to dismantle the idea of the animal/human dichotomy that has been inherited from the Enlightenment and the philosophical ideas of Descartes and Kant. This “Animal Moment” in the 21st century suggests a steering away from this divide, which disrupts the anthropocentric underpinnings sustained in traditional portrayals of animals. The artists in A Curious Nature all reflect this radical rethinking of the animal world. Set apart from natural surroundings in a context to be viewed as art, their work disbands the traditional ways in which we perceive animals and insects, and furthers the dialogue about the relationship of humans to nature through contemporary craft. Whether real or imaginary, domestic or exotic, each artist references science, anatomy and biology in their work to provide an alternative reference point to encounter the natural world in unique and innovative ways. A Curious Nature also exemplifies a new trend in contemporary craft that emerged in the last decade. Each artist engages in techniques and materials from multiple craft disciplines, combining them with fine arts practices. This transcends the traditional categories of fiber, ceramics, glass, and metal to post-disciplinary practices that also utilize photography and installation art.


Support for A Curious Nature is provided by The Coby Foundation

Barbara Paganin: Memoria Aperta

May 26, 2016 to Aug 14, 2016

The works shown in the series Memoria Aperta (open memory) at the Art Alliance are mind maps and miniature landscapes that tell stories in gold, silver, semi-precious stones and new materials.  They are inspired by the emotions of the artist’s past but they open up to the world by exploring the memories of others. For Paganin, the work starts with a search among the antique shops of Venice reclaiming unique objects and heirlooms. Some recurring elements point to her personal history yet each brooch contains details that viewers can re-configure according to their own individual fragments of memory.

Barbara Paganin is well known for her use of precious materials, but she has added techniques in glass, resin and dental acrylic over the years to complement her recovered elements. The brooches and neckpieces in this series have been designed as a single suite, on which the artist has worked continuously over the last several years.

Support for Memoria Aperta is provided by Helen Drutt: Philadelphia and Linda Richardson. Support for the Philadelphia Art Alliance is provided by the Philadelphia Cultural Fund, the Pennsylvania Council on the Arts, and members of the PAA.

HUSH has a website! Check out

The Philadelphia Art Alliance is pleased to present HUSH, an exhibition that brings together the work of artists Megan Biddle, Amber Cowan, Jessica Jane Julius and Sharyn O'Mara. Working over the course of a year, the artists, who are also colleagues on the glass faculty at Tyler School of Art, Temple University, created visually and conceptually diverse works that include site-specific installations as well as individual sculptures and drawings. At the outset, the artists recognized commonalities in their practice: reflection (literal and figurative) and distillation. They began with a collective desire to see past the overstimulus of the digital age and to focus on the analog, narrow the vocabulary from color to gray scale, and capture the power of memory and reflection in interpretation of experience. And yet, there is nothing simplistic either in the ambition or scope of any of the artists' work.

Megan Biddle's mixed media sculptures and images draw upon themes relating to the earth: rocks, erosion, time, cycles, and scale shifts. Contrasting the subtle yet powerful passage of time that is coded in the natural landscape with the hyper-speed of our daily existence, Biddle ponders our perceptions of time. Using the grid, a ubiquitous device for measuring, mapping, and structuring, she creates a dense, stretched out, or seemingly stopped-in-place understanding of time and space. Material formations such as the slow erosion that carves a rock or the spontaneity of molten glass suggests the contrast of nature and technology. Her works for this exhibition explore the microscopic, macroscopic and the scale shifts that occur when an accumulation of particles becomes a star in a galaxy.

At first glance, Amber Cowan's works appear lavish; densely packed, intensely detailed, viral in accrual. Yet these works speak in quiet abundance, transcending the thousands of hand-formed elements that create an environment in which viewers quickly become lost and then found again as they discover familiar and unexpected forms, recognizing what might be bone, porcelain, or stone. Working with discarded and unwanted pressed glassware produced by some of the best known but now sadly defunct glass factories in America, Cowan's reforming of these materials can be considered both subversive and patriotic, a quite homage to the history and demise of American glass manufacturing and a sad epigraph to its disappearance from our culture.

Influenced by the complexity of our visually overloaded society, Jessica Jane Julius' objects, installations, and drawings reflect on the intangible environment - the multitude of surrounding elements in our environments that cannot be perceived through touch. Works for HUSH explore the complexities of stasis. Whether it is radiating in the atmosphere or drowning out the quit of the mind, tension exists that is both mesmerizing yet creates visceral unrest. The work attempts to make meaningful connections amidst the noise, to transform the intangible into tangible, and to create balance by applying chaos to order and order to chaos.

Sharyn O'Mara's images, installations, and drawings explore the relationship between the mapping of the land--with roads that create lines, intersections, and grids--and the mapping of experience using written language through grammar and composition. Structures imposed on the topography of the land act as a metaphor for the organization and divided nature of language, and thus for the territories of experience. The works for this exhibition come from an ever-increasing sense of the immensity of not knowing in a political culture that seems to be spiraling out of control. Working with the carbon residue of her beloved dogs' hair in attempt to capture their DNA, fragile lines of fused glass particles or the most spare hand drawn mark attempts to reduce the complexity of material and language to a single mark yields infinite meanings. The spaces in between, like those between letters, words, and paragraphs, allow for pause as new terrain emerges.


Support is provided by the Pennsylvania Council of the Arts and members of the PAA.

Megan Biddle: Special thanks to Jason Surbeck/Surbeck Waterjet Co.

Amber Cowan: All work courtesy of Heller Gallery, New York Sharyn O’Mara: Work for this exhibition was made possible by a Temple University Sabbatical, partial funding by a Tyler School of Art/Temple University Dean’s Grant, and a residency at the Djerassi Foundation.

Special thanks to KBonk / fabrication and John Carlano.

The artists are particularly grateful for the support of the Irvin Borowsky Glass Studios, Tyler School of Art, Temple University.


HomeWork: Asimina Chremos & Erin Endicott

Dec 10, 2015 to Jan 3, 2016

Opening Reception: Tuesday, December 15, 5 to 7pm

The Philadelphia Art Alliance is pleased to host HomeWork, an exhibition guest curated by Alex Stadler, featuring the work of Asimina Chremos and Erin Endicott. Both fiber-based artists, both Chremos and Endicott will present their most recent bodies of work, demonstrating their specialized mastery of techniques used in crochet and embroidery, respectively.

Asimina Chremos

As a dancer and a visual artist, the work of Asimina Chremos is rooted in the structured techniques she learned through her formal ballet training as well as the study of symmetrical patterning found in traditional lace and doilies. In fact, Chremos learned crochet from her grandmothers, one Greek and one American. Her mother is a fiber artist as well, which gave her early exposure to the loom and the spinning wheel.

Mastering these traditional techniques has allowed Chremos to develop a more experimental approach to her process, stating "While traditional forms hold the values of a collectively held culture, it is the unpredictable embodied life-experiences of individuals that keep those forms fresh and relevant. Formal study of historical practices, combined with spacious openness that allows improvisation, is at the core of innovation and connects the past to the future." In 2014, Chremos began combining these two artistic practices of dance and crochet, developing performances that allow her to use her body to activate the work.

Erin Endicott

Endicott's latest series Healing Sutras is inspired by the vintage fabric garments that have been passed down to the artist by friends and family members. Sutra, meaning "to stitch" in Sanskrit, refers to her interest in probing what she terms the psychological "wounds" that she has inherited over time. Endicott states,"I'm particularly intrigued by the concept of inherited wounds; specific patterns, behaviors, reactions that we are born with - already seeded into our psyche at birth. By bringing these dark areas into the light, by making them visible, I believe we can heal these wounds. Some people talk through their issues to bring healing, some write them out to shed light on them , I choose to make them into visible, visceral objects."

Endicott's process begins with staining the vintage garment with walnut ink. The spread of the ink is a process outside of the artist's control that is dictated by the weave of the fabric. The stain that is created then becomes the "map" for the intricate stitching that is overlaid onto the garment. It is the meditative process of stitching over extended periods of time that relates to the concept of "healing" that is at the core of her work.

Guest Curator Alex Stadler

Alex Stadler is a 25-year resident of Philadelphia and a 1990 graduate of Rhode Island School of Design with a BFA in printmaking.  He is the author and illustrator of ten books for children, including What Willie Wore and the Beverly Billingsly series for Harcourt.  Stadler has created collaborative collections with Comme des Garcons, Todd Oldham, babyGap, John Bartlette and JF Sons and is currently the proprietor of stadler-Kahn and designer of the stadler-Kahn line of scarves, clothing and accessories.

Part of American Craft Council Fellows in Philadelphia

This exhibition is part of a multi-venue series of exhibitions honoring Fellows of the American Craft Council who have had considerable impact on the Philadelphia region. In addition, this series of exhibitions is a major feature of the city-wide pilot project Craft NOW I Philadelphia, and includes the participation of our organization along with The Center for Art in Wood, The Clay Studio, and the Philadelphia Museum of Art.

The ACC College of Fellows are composed of craftspeople that have made significant contributions to the field of craft in the United States, with over 25 years of practice in their respective disciplines. The Philadelphia region has been widely recognized for its rich history and accomplishments in the field of craft, which is reflected in the number of artists who have become part of the ACC College of Fellows. These four exhibitions, the accompanying publication, and educational programming are all designed to highlight the impact of the Philadelphia region on craft on a national scale by featuring the work of 15 different Fellows among the four venues.

At the PAA, this exhibition will be held from September 17 to November 30, 2015 and will feature Adela Akers (fiber), Lewis Knauss (fiber), Judith Schaechter (glass), Warren Seelig (fiber/architecture), and Paula Winokur (porcelain). During the three months of this exhibition, the PAA will also present educational programs featuring Warren Seelig and Judith Schaechter. It should also be noted that this collaborative project among these four institutions is also the culmination of the 100-year anniversary program at the PAA. Throughout this celebratory year, the PAA has presented the work of all Philadelphia-based artists, as well as educational programming that challenges preconceived definitions of engagement and creative practice in craft and design.


Craft NOW Philadelphia unites the leading institutions and artists of Philadelphia’s fine craft community in a celebration of the city’s rich legacy of craft, its internationally-recognized contemporary craft scene, and its important role as an incubator for arts based in wood, clay, fiber, metal and glass. Through both creating and spotlighting locally-focused events during the week of the Philadelphia Museum of Art’s yearly Contemporary Craft Show, Craft NOW invites locals and visitors alike to explore Philadelphia’s innovations in the world of the handmade.

Craft NOW was founded in 2014 by a consortium of individuals, galleries, museums, universities, retailers and civic organizations. Though diverse in background, the consortium was united in their desire to create an initiative that would contextualize the future of craft in Philadelphia. With its inaugural events of 2015, Craft NOW begins its mission to showcase the city’s craft community and create opportunities for the public to engage directly with the art of fine craft.

Home Is Where You Hang Your Hat

May 28, 2015 to Aug 24, 2015


As part of the 100th anniversary of the PAA, Home Is Where You Hang Your Hat is an exhibition that incorporates newly commissioned works by five Philadelphia-based design/build firms--Austin + Mergold, ISA, Moto Designshop, Plumbob, and Qb3--to create five separate but interrelated installations based on the history of the Wetherill mansion as well as the contemporary concept of the “house.” Each firm takes into account the ideological meanings associated with the history of domestic architecture, the original function of the building as a residence, and the physical features of the first and second floor galleries of the Art Alliance. The resulting installations are not an historical recreation of the building as a private home, but an interpretation of the concept of home—as a reflection of both social anxieties and desires—for a contemporary audience. Ultimately, the exhibition invites connections between design, architecture and conceptual art practices, bringing the usual assumptions of a design practice into the realm of installation art.

Support for Home Is Where You Hang Your Hat is provided by The Samuel S. Fels Fund, INTECH Construction, Drexel University, Saint-Gobain in North America, Stockton Real Estate Advisors, Quality Kitchen Designs and Church Brick Company.

Additional support is provided by Pennsylvania Council on the Arts and members of the PAA.

MGA Partners: People Process Place

Apr 12, 2015 to Apr 26, 2015

People Process Place celebrates the collaboration of designers, university leaders, housing officers, fabricators, and builders, in the creation of a new signature high rise student residence on the North Broad Street skyline. Morgan Hall contributes to the ongoing transformation of Temple University into a community-engaged, pedestrian-oriented, academic and cultural destination in Philadelphia. The project encompasses a full city block on the southern edge of Temple’s campus and is both the announcement of the institution along the approach from Center City, as well as the culmination of Liacouras Walk, which connects the campus.

A new publication People Process Place, accompanies the exhibit and will be available gratis for reception and exhibit guests. The Album honors the hundreds of people that contributed to the creation of this new place in the City.

MGA Partners is a nationally recognized architecture firm based in Philadelphia.  Established in 1958 as Mitchell/Giurgola Architects, the firm reorganized in 1990 and continues to be recognized for design excellence with Senior Partners Daniel Kelley FAIA, Robert Shuman AIA, and Mary Keefe.  In 2014, the partnership expanded to include Amy Stein AIA, Katie Broh AIA and Christine Marsal .  Evolving from the commitment to a more humanistic and urbane modernism as practiced by the firm's predecessors, MGA Partners views architecture in the context of art and craft, realizing aspirations for a better life and public responsibility through its plans and buildings.

Robyn Weatherley: Trace

Jan 29, 2015 to Apr 5, 2015

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.

Kate Clements: Charade

Jan 29, 2015 to Apr 5, 2015

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.

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.

Lauren Dombrowiak: An Edifice Spectrum

Sep 11, 2014 to Nov 30, 2014


Heavily influenced by Victorian decorative motifs found in the home, Lauren Dombrowiak creates entire environments that include tower-like sculptural forms crated out of dinnerware and other household objects such as mirrors and wood furnishings. SEE MORE

Christina P. Day: Fifth Wall

Sep 11, 2014 to Nov 30, 2014

The phrase fifth wall references a marketing campaign created by the interiors industry to encourage the addition of wallpaper to the ceiling in a home.  It is the concealment of an overhead floor, a seal of interior facing walls- a fifth wall that creates a truly closed space.  For Christina P. Day, this fifth wall represents the physical divide between real and imagined. SEE MORE

Heather Ujiie: Erotic Alchemy

Sep 11, 2014 to Nov 30, 2014

Textile artist and designer Heather Ujiie incorporates many techniques--including hand painting, drawing, stitching, and printing with innovative large-format digital printing technology--to create immersive Utopian that she describes as “ a celebration of the unconscious.” SEE MORE

Paul Richardson: Through His Eyes

Feb 12, 2014 to Mar 16, 2014

In addition to being professionally heralded as a leading radiologist and philanthropist, Paul Richardson's prolific body of work as a photographer ranged from the exquisite beauty found in nature to the stark ruins of abandoned prisons. The exhibition at the Philadelphia Art Alliance,Through His Eyes, focuses on Richardson's photographs taken at Holmesburg Prison. Built in 1896 and in continuous use until 1995, Holmesburg was notoriously known as the site of a controversial, decades-long  pharmaceutical, and biochemical weapons research project involving testing on inmates. Richardson described Holmesburg as a place of "stark, crumbling horrors that once took hope from body and soul." Despite the subject, Richardson's photographs of this dilapidated site reflect his ability to find beauty even in decay.

Born in Manchester, England, Dr. Paul Richardson went to medical school in England and then came to the United States, where he completed specialty studies at Cornell and New York Universities. During a long career, he was chief of radiology at St. Agnes Medical Center. He also worked at Hahnemann University Hospital and Cooper University Hospital. It was while in semi-retirement that Richardson's interest in photography blossomed.

NOISE: Electricity for Progress

Mar 20, 2014 to Apr 20, 2014




NOISE: Electricity for Progress is a series of interactive and site specific installations by Philadelphia-based artist Sam Cusumano. Exemplary of the new approach to craft that has re-surfaced within the last decade, the exhibition explores the craftsmanship of sound as expressed through a concentration on the repurposing of found materials, biology, and direct audience interaction.

Focused on the synergies between technology and the natural environment, viewers are invited to experiment with creating new sounds using electrical engineering and computing software. Many of the projects utilize organic materials such as plants and fruit, as well as the electrical inner parts of toys or now outmoded devices. These are manipulated to create an alternative interface to achieve various sound effects, thus subverting their original intention. Ultimately, the goal is to illustrate, through manipulation of sound, how technology can relate to the natural world.

There will be two workshops during the exhibition open to participants of any age or skill level. The themes and activities of the workshops relate directly to the installations in the exhibition.


Gregg Moore: Heirloom

May 22, 2014 to Aug 17, 2014

Heirloom is a unique installation by artist and designer Gregg Moore, which will transform the PAA’s ground floor galleries into both a traditional exhibition of objects and a public space to dine. Heirloom will bring audiences into a conversation about making, buying, and eating that links the fields of art, craft, and design with the practices of farming and gardening. Moore uses ceramics’ unique relationship to the earth and the table to explore the deep connection between local agriculture and consumerism.

Table D’Hôte, a series of family-style meals presented by Moore and renowned chef Pierre Calmels of Le Chéri restaurant, will be held in the galleries throughout the duration of the exhibition. Calmels and Moore share a reverence for technique and craftsmanship in their respective fields, and are excited to be collaborating on a project the likes of which neither has ever quite embarked on before.

To Book a Reservation for Table D’Hôte:

The seven-course, prix-fixe menu dinners will be served at the PAA from Wednesday through Sunday from May 23 to August 10 at 5:30 pm. To place a reservation, please contact Le Chéri restaurant at or call 215.546.7700.

The cost is $150 per person.

Space is limited to 16 reservations for each evening. Guests are encouraged to make reservations as soon as possible.

Wayne Higby: “Infinite Place”

May 22, 2014 to Aug 3, 2014

The PAA is pleased to present Infinite Place: The Ceramic Art of Wayne Higby. Higby is an innovative figure in the second generation of artists to emerge from the post-WWII American studio ceramics movement.

Caroline Lathan-Stiefel: “Greenhouse Mix”

Mar 20, 2014 to Apr 27, 2014

Greenhouse Mix is a site-specific textile installation inside the Wetherill Mansion inspired by Philadelphia’s rich history as a center of horticulture. Greenhouse Mix comprises three distinct components: two gallery installations and a project in the grand stairway of the PAA.

Responding to the period room details of the PAA galleries, Lathan-Stiefel will reconfigure her piece green-house, inspired by the form and pattern of the stacked stones of botanist John Bartram’s Philadelphia greenhouse which he built himself. Victorian-style ferneries and the idea of a “jungle in the salon” influence the second installation, Hothouse, which will contain both textile and real ferns, along with a recorded sound piece. Lathan-Stiefel’s project in the stairway of the PAA, Frakturing, echoes the shapes and colors of both Pennsylvania Dutch Fraktur designs and the original 1905 stained glass window which features botanical imagery and plant forms. This piece will also invite viewers to think about issues of plant diversity and sustainability in an age of fracking.


William Daley: “14 for 7”

Jan 23, 2014 to Mar 9, 2014

The Philadelphia Art Alliance is pleased to present “William Daley: 14 for 7,” an exhibition featuring a select group of Daley’s works made between 1954 and 2013. This exhibition comes on the heels of the publication of William Daley: Ceramic Artist, a career retrospective published by Schiffer Publishing. This exhibition unites 14 works from 7 extraordinary decades, celebrating Daley’s achievements both past and present. In addition to the works on view, the installation will feature a recent short film about Daley and his work, Mud Architect, by Thomas Porett, as well as images, drawings, and sketches from Daley’s studio, providing an intriguing glimpse of his studio. Famous for his intricate drawings and library of forms molds and ingenious handmade tools, Daley draws inspiration from natural and man-made structures from cultures and regions across the globe.


"LTextile" brings together the work of artists and designers from Lithuania in a survey of contemporary textiles, co-organized by PAA Curator Sarah Archer and Egle Ganda Bagdoniene, Vice-Rector at the Academy of Arts in Vilnius. "LTextile" is made possible by the support of the Ministry of Culture of the Republic of Lithuania.


Jung Wha Ahn: The Search for Inner Peace

Sep 17, 2005 to Jan 8, 2005

Satellite Gallery
Rittenhouse Hotel
210 W. Rittenhouse Square. Third Floor

The paintings of Jung Wha Ahn have a sincere formalistic quality often overlooked in contemporary painting. Composition, color relationships and form are carefully balanced to create a natural rhythmic blend that seems to hover on the surface on the canvas. Yet, this formal concern for the qualities of painting itself actually reflects a deeper more poetic relationship between the artist and her surroundings.

Ahn draws her inspiration from small objects found in nature and in the studio that surrounds her work. Ahn states “I try to listen to Nature’s communication; a tree communicating to its fellow tree next to it, a city building to one next to it…I keep searching to find my personal internalized alphabets.” At the Philadelphia Art Alliance Satellite Gallery, Ahn will be exhibiting several large-scale oil on canvas works as well as several smaller oil on board paintings.

Ahn received her BFA at the University of Minnesota and her MFA at the Pennsylvania Academy of Fine Arts. Recent exhibitions include: Chicago 2000, Chicago, IL (2000); Six Degrees in Cold Storage, College Art Association Annual Conference, Philadelphia (2002); From the Studio” Selections from the Philadelphia Open Studio Tour, Center for Emerging Visual Artists, Philadelphia (2004); Spirit and Transformation, Caladan Gallery, MA (2004); Artist-In-Residence Exhibition, Agora Gallery, New York, NY (2005); and Art Now 2005 International Competition (2005). In addition, Ahn has worked for many years as an art teacher and teaching assistant at both the university and elementary school levels.

To conclude our 90th Anniversary celebration entitled Celebrating Rittenhouse Square, the Philadelphia Art Alliance presents the final part of a three exhibition series entitled Rittenhouse Square Collects, Part Two: On the Square. Helen W. Drutt English conceived the tripartite exhibition schedule for the 90th Anniversary Year and serves as the Project Director for these exhibitions.

The first exhibition “In Ever Greater Measure” was organized by Melissa Caldwell, Exhibition and Design Associate of the Philadelphia Art Alliance. The exhibition encompassed historical artifacts, documents, photographs, and other ephemera that concentrate on the history of Rittenhouse Square and the legacy of the PAA within that community.

Two separate exhibitions, entitled Rittenhouse Square Collects, encompasses the remainder of our Anniversary celebration. These exhibitions have been selected by James Jensen, Associate Director and Chief Curator of The Contemporary Museum, Honolulu. Part One: Off the Square, which was on view from June 21 to August 21, was drawn from collections nearby Rittenhouse Square. The summer exhibition was an eclectic choice of works spanning the 18th century to the present and ranges from Indian textiles and drawings to early American decorative arts, to Art Deco French ceramics, to Philadelphia modernist paintings to late 20th century contemporary crafts.

Part Two: On the Square features an equally diverse group of works culled from some of the most thoughtful and substantive private collections in the Philadelphia area. The installation of these varied collections incorporate juxtapositions of objects, which though unexpected, provide interesting complements and relationships between works. Ultimately the exhibition serves to emphasize the range of collecting interests in the Rittenhouse area, providing a rich variety of aesthetic viewpoints from the private sector.

Incorporating multiple collections within each gallery of the Philadelphia Art Alliance, Part Two: On the Square is organized in two ways. Each grouping contains either varying approaches to a single subject, or represents the works of several artists within a single period of history. Several categories are presented in the exhibition, including the nude figure; the still life; tribal or ethnographic objects; portraiture; seascapes and landscapes; contemporary ceramics; and typology collections or groupings of similar ephemera that collectors have focused on to create a varied assemblage of that object. Highlights from these collections include works by: David Hockney; Robert Motherwell; Sarah McEneaney; William Glackens; Sally Mann; Paul Strand; Elieen Neff; Arthur B. Carles; Maurice Vlaminck; Jacques Villon; jewelry by Alexander Calder, Georg Jensen, and Louise Nevelson; Milton Avery; Max Weber; Jean Cocteau; Earl Horter; Elie Nadelman; Barbara Morgan; and Henri Cartier Bresson, among many others.

Ultimately the exhibitions included in Rittenhouse Square Collects celebrate the philanthropic spirit of the Rittenhouse community in their support of the visual arts and the central position of the Philadelphia Art Alliance in promoting arts and culture along the Square and throughout the region.

Rittenhouse Square Collects: Part One

Jun 21, 2005 to Aug 21, 2005

To commemorate the 90th Anniversary of the Philadelphia Art Alliance, a series of dynamic exhibitions and programs are being held throughout 2005. This initiative, entitled Celebrating Rittenhouse Square, includes three major exhibitions to celebrate one of Philadelphia’s oldest cultural institutions. Helen W. Drutt English Philadelphia conceived the exhibition schedule for the 90th Anniversary Year and serves as the Project Director for these exhibitions.

The first exhibition “In Ever Greater Measure” was organized by Melissa Caldwell, Exhibition and Design Associate of the Philadelphia Art Alliance. The exhibition encompassed historical artifacts, documents, photographs, and other ephemera that concentrate on the history of Rittenhouse Square and the legacy of the PAA within that community.

The next two separate exhibitions, entitled Rittenhouse Square Collects, are planned for the remainder of our Anniversary celebration. It has often been stated that a major exhibition series could be drawn from the private collections housed in the dwellings around the Square. Many of these are collections that have never been accessible to the general public until now.

The Philadelphia Art Alliance has worked closely with James Jensen, Associate Director and Chief Curator of The Contemporary Museum, Honolulu who selected works from private collections around the Square. The summer exhibition is an eclectic choice of works spanning the 18th century to the present and ranges from Indian textiles and drawings to early American decorative arts, to Art Deco French ceramics, to Philadelphia modernist paintings to late 20th century contemporary ceramics and jewelry. Works by Peter Voulkos, William Daley, Kato Yasukage, Manfred Bischoff, Kiff Slemmons, Peter Chang, and Bruno Martinazzi will be on view along with works by contemporary European, American, and Latin American prints, drawings, and video works. Among them are Robert Mangold, Rivane Neuenschwander, Richard Serra, Robert Rauschenberg, Kiki Smith, Quentin Morris, and Christian Marclay. Of particular note in the exhibition are Sol Lewitt’s Drawing #84, 10,000 lines 10 inches long, and French artist Melik Ohanian’s nine-channel video installation, The Hand (2003). Robert Arneson’s 1976 self-portrait, The Graduate, will be publicly exhibited for the first time since 1979.

This public access to private collections should draw the cultural community to the Rittenhouse Square area. More significantly, these collections emphasize the range of collecting interests as well as the philanthropic spirit of the Rittenhouse community in their support of the central position of the Philadelphia Art Alliance.

Satellite Gallery
Rittenhouse Hotel
210 W. Rittenhouse, Third Floor

Coinciding with International Parkinson’s Month, members of the Parkinson’s Council will sponsor an exhibition of works by artists from the Philadelphia region. The exhibition will open to the public on Saturday April 2 and will include works of all media juried by a selective panel of established artists and arts professionals from the area.

Program Coordinator of the Parkinson’s Disease and Movement Disorders Center at Pennsylvania Hospital, Suzanne Reichwein, is working with volunteers who are members of The Parkinson’s Council in producing a variety of events in the area throughout the year to raise awareness of Parkinson’s and the fact there is no known cause or cure at this time. The goal of the Parkinson’s Council is to increase awareness of the disease and the effort being made to combat it. Through this juried exhibition of work of artists with Parkinson’s, it is hoped that a stronger community will grow among those battling the disease and their loved ones, as well as the many working in the field of advocacy and service to patients. Funds for furthering research in new treatments and a cure for Parkinson’s will be raised through this event.

Reichwein further notes “The jurors and I are very excited about the creativity and caliber of work that has been selected for the exhibition in Philadelphia Art Alliance Satellite Gallery. “The creativity that is reflected in each of the pieces is breathtaking. This is a notable collection of a variety of media. This collection is inspiring when one reflects on the challenges that this disease presents to each artist both personally and professionally,” Jurors include Paulette Bensignor, nationally-renowned painter and printmaker, Emil DeJohn, Director of Fashion Career Placement at Drexel University, Johanna Goodman, acclaimed ceramicist and sculptor living and working in Philadelphia, and Libby Newman, former Director of the Ester M. Klein Gallery at University City Science Center.

Selected artists include: Du-Can Chan, Paul Coff, Joyce Coogan, Charles Domsky, Ruth Dipper, John Dullingham, Robin Fredenthal, Kathy Harris, Virginia Hummel, George Ivers, Rhina Kirshbaum, George Martz, Mary Mead, Richard Pryor, Nancy Tomlin, and Arlene Wolf.

Julianna Foster: on my way back to you

Feb 9, 2006 to Apr 1, 2006

Tracing the distinctions and similarities between text and image, every series of work by Julianna Foster involves a visual manifestation of the concepts of narrative and form. The narrative--built from a series of photographic images, handmade books, and videos--all relate to a larger master narrative. Each work, therefore, references the very structure of how meaning is generated through the relationship of word to representation and vice versa. Often the subjects of her series relate to the physical nature and content of a specific text as well as the original context from which it was written. Hidden meanings are revealed through the manipulation of the text, whether the text is obscured, referenced visually, or literally removed from page.

Foster received a BFA from the University of North Carolina, Greensboro, NC, and will receive an MFA in Book Arts from the University of the Arts, Philadelphia, in 2006. She taught photography and digital imaging at several universities including the University of the Arts, Philadelphia, Wake Forest University, Winston-Salem, NC, and The Katherine Gibbs School, Philadelphia. Foster has had solo exhibitions through InLiquid at the Bride, the Painted Bride Art Center, Philadelphia, PA; at the Exhibition Media Center, North Carolina School of the Arts, Winston-Salem, NC; Whistling Women, Winston-Salem, NC; and the SEED Collective, Winston-Salem, NC. Group exhibitions have included: Artists' Books from Philadelphia and Timisoara, The University of the Arts, Philadelphia, PA and Library Humanitas Joc Secund, Timisoara, Romania; Turning Pages, Whittier College, Whittier, CA; Viewpoint, InLiquid at the Bride, the Painted Bride Art Center, Philadelphia; Passage, University of the Arts, Philadelphia, PA; Women in the Middle, Walker’s Point Center for the Arts, Milwaukee, WI; and Cleveland State University Second Biennial Photography and Digital Media, Cleveland, OH. Foster has been an Artist-In-Residence at The Silver Factory, Cleveland, OH and is currently a Graduate Fellow at the University of the Arts, Philadelphia.

Kelley Roberts: Sometime Sunshine

Feb 9, 2006 to Apr 1, 2006

The new body of work by Kelley Roberts addresses themes only suggested through basic iconic elements. Outer space, owls set in the snowy woods, or fireworks in a landscape are predominately created from digital images or scanned photographs that are digitally altered and composed, printed, hand cut, and layered in frames. The ways in which they are cut and layered allow the actual content of the image to exist only in silhouette.

The silhouette itself is suggestive of a shadowy or unclear memory. Thus, Roberts considers these images to be somewhat akin to an oral history—that is, an effort to collect an oral account in a visual form. Like the form of an oral history, the narrative only exists each time it is spoken. Therefore, what is suggested—whether it is a subject set in nature or something more supernatural--does not exist in a particular time or place. Ultimately, Robert’s images speak to how an narrative may be changed through its retelling much in the way in which each viewer brings his or her own unique set of experiences to the interpretation of any visual form.

Roberts received a BFA at Virginia Commonwealth University, Richmond, VA and an MFA in Sculpture from Cranbrook Academy of Art. Bloomfield Hills, MI. Recent solo exhibitions include: View, Tyler School of Art, Elkins Park, PA; Crossed, Terminal E, The Philadelphia International Airport, Philadelphia as well as five solo exhibitions at Vox Populi, Philadelphia. Some of Roberts many group exhibitions have included: In Our Own Backyard, on view at Lancaster Museum of Art, Lancaster, PA and The Main Line Art Center, Haverford, PA; In a Silent Way, as on view at The Main Line Art Center, and Against the Tide, a group exhibition hosted by Peter and Mari Shaw, Philadelphia. Roberts is a recipient of an Independent Fellowship from the Pennsylvania Council on the Arts and a Fellowship from the Independence Foundation (both in 2003).

Libby Saylor: Familiar Places

Feb 9, 2006 to Apr 1, 2006

For the subject matter of her photographs, Libby Saylor reapproaches locations that she has become accustomed to viewing in a certain, and perhaps more comfortable, ways. Saylor’s old school parking lot, her boyfriend’s home in New Jersey, a vacation house at the beach, and even herown apartment are all the focus of her of photographs, yet resulting images are often less than recognizable.

Each abstracted image is a result of Saylor’s unique photographic technique in which the lens is disengaged from the body of the camera and turned backwards. Saylor adjusts the color and light with the lens to create the atmospheric affects that are evidenced in the final print. This process of detaching the lens is also symbolic for the artist. As Saylor states “…shooting backwards proves to work to my advantage. Not only am I able to gently detach emotionally, but I also come to view my subject matter in a way never obvious to me before. The plain familiar places hold fascinating enchantment that can only be unlocked by breaking a few rules, taking some chances, and having fun in the process.”

Saylor received a BA in photography from the University of the Arts, Philadelphia and recently had her first solo exhibition through the InLiquid Exhibition Series in Philadelphia. Other recent exhibitions include: FreeForm, Media Bureau Networks, Philadelphia; Abstractions, Main Line Art Center, Haverford, PA; Urban Cartography, DaVinci Art Alliance, Philadelphia; POV: Bring the World Into Focus, Artoconecto, Washington, D.C.; Portrait of My Mother. . .Things left Unsaid, Center for Contemporary Art, Sacramento, CA; and Faces of Woman, Las Vegas Arts Council, Las Vegas, NM. The was the recipient of the Leeway Foundation Window of Opportunity Grant in 2003 and her work has been published in F-Stop Magazine and the Washington Post.

New Paintings by Du Hoang

Feb 9, 2006 to May 21, 2006

Philadelphia Art Alliance Satellite Gallery
The Rittenhouse Hotel
210 W. Rittenhouse Square, Third Floor
Although there are many institutions that provide exhibition opportunities throughout the city, the Philadelphia Art Alliance is unique in its dedication to promoting the work of artists from this region through our continuing SOLOS program. We are proud to feature promising emerging and mid-career artists who may not have had an opportunity to show their work in a major institution.

Densely painted and often monochromatic, the work of artist Du Hoang addresses the many ways in which various cultures conceptualize and record time. Sand-like dots are registered in abstracted patterns on the surface of the canvas, recording the duration that the artist may have spent creating completing each work. His series of paintings are not merely a means to document the artist’s personal experience of time, but an attempt to reflect a large and more universal means by which various cultures organize daily experience. As the artist states “ Traditionally, our ancestors had various form of documenting communal/personal experiences: dance, oral/song, painting, and writing. In my work, I choose to document my personal (and communal) experiences on the canvas… as a process of registering time. “

Du Hoang received a BA in Studio Art from Tyler School of Art, Temple University, Elkins Park, PA, and a MFA from Ohio State University, Athens, OH. Recent solo exhibitions include: Algorithm of Strings, Can Tho, Vietnam; Generative Grammar of Constructed Self, Dungeon Gallery, Ohio State University, Athens, OH; Rhapsody in Red, Trisolini Gallery, Athens, OH; Interpreting Shiva, Dungeon Gallery, Ohio State University, Athens, OH; and Misinterpreting Chuang Tzu, Temple University Gallery, Philadelphia, PA. Du Hoang is a member of the Da Vinci Art Alliance and will have a solo exhibition, Kaliyuga Series, at the Da Vinci Art Alliance later in 2006.

Antonio Puri: Outside the Mandala

Jan 1, 1970 to Jan 1, 1970

Viewing Antonio Puri's large scale canvases can only be described as a fully encompassing experience of color, texture, and form. Puri’s paintings depict a delicate balance of sharp and concise circular forms, combined with a more improvisational and spontaneous application of paint and wax.

His paintings are an unprecedented hybrid. He has taken the ancient Eastern technique of batik and applied it to mixed media and oil paints on canvas, creating a new form, the batik canvas. By using this modified process, Puri is able to capture the very essence of his gestures as he attacks the canvas. Through this process, layers once covered, are exposed after the wax is removed, thus revealing the evolution of the work over time. However at times, Puri uses strings as a resist, instead of wax.

Ultimately, Puri’s art form engages the viewer in an active level of deciphering and imagining the works in various stages of completion. As Puri writes in his artist statement, “by contrasting highly textured surfaces with flat surfaces, vertical and horizontal drips, circles of different proportions… a tension develops. This tension is the force that keeps the paintings alive.” Many of the paintings on view in Outside the Mandala were created while Puri was a part of the chashama artist-in-residence subsidized space grant in New York.

Puri was born in Chandigarh, India, and spent the first 17 years of his life in international boarding schools in the Himalayas. He came to the United States to attend Coe College in Iowa, where he majored in art. Puri also studied at the San Francisco Academy of Art and attended the University of Iowa School of Law where he earned his JD.  Puri has had several solo exhibitions including Weiss Pollack Gallery, New York; chashama, New York; Holland Art House, West Chester, PA; Gloucester County College, NJ; Cumberland County College, NJ; and Planet Art Museum, South Africa.  He has also exhibited in numerous group exhibitions including the Susquehanna Art Museum, PA; Bergen Museum of Art and Science, NJ; The Noyes Museum of Art, NJ; Sharadin Art Gallery at Kutztown University, PA; Rowan University, NJ; and Som Arts Cultural Center, San Francisco, among many others. His work is also represented in museum and corporate collections and he is currently planning for two large-scale exhibitions in 2006 at West Chester University, West Chester, PA and the Noyes Museum of Art in Oceanville, NJ.


Apr 8, 2006 to May 21, 2006

The show represents the 7th (now biennial) juried exhibition presented by critically acclaimed ArtQuilts at the Sedgwick, AQatS. Works by 44 artists from the United States, Canada, Europe and Australia will be on view. AQatS is proud to continue the tradition it began four years ago to highlight not only its own exhibition of fine art quilts but also to promote the many other regional venues that now feature the fiber arts as part of "April is Fiber in Philly."

When it began in 1999 as a 10-day invitational show at the Sedgwick Cultural Center in Mt. Airy, AQatS recognized that it had the heady task of explaining the very words "art quilt" and showing quilts on the wall to many visitors who knew only the functional bed quilt. To the organizers’ surprise, the success of this brief exhibition surpassed all expectations. In fact, AQatS attracted so much attention from both the public and the press that it expanded annually and became a month-long, juried exhibition in its third year. Fulfilling its mission to provide a consistent venue for the exhibition of the art quilt and the education of the public about this important and ever-evolving art form, each year the AQatS committee has also produced a CD-ROM catalogue of each featured quilt as well as comments by each artist and each juror.

It is a testament to the widespread fame of AQatS that is receives hundreds of submissions from artists from every region of the country and from abroad as well. For AQATS 2006, 44 quilts were selected by three illustrious jurors—Rebecca Stevens, author and curator of Contemporary Textiles at the Textile Museum in Washington, D.C., and fiber artist/teachers Lewis Knauss of Moore College of Art and Design and Amy Orr of Rosemont College. They have assembled a show that illustrates the depth and varieties of the contemporary art quilt: photo transfers, paper and whole cloth quilts, embroidery and painting on cloth, are but a few of the techniques that the visitor will see in 2006. Artists selected: Virginia Abrams, Bob Adams, Valerie Aita, Lisa Call, Violet Cavazos, Jette Clover, Tricia Coulson, Bonnie Epstein Denise M. Furnish & C.J. Pressma , Leesa Zarinelli Gawlick, Valerie S. Goodwin, Beverly Hertler, Kristin Hoelscher-Schacker, Natasha Kempers-Cullen, Pat Kroth, Judy Langille, Eileen Lauterborn, Suzanne MacGuineas, Barbara McKie, Patricia Mink, Angela Moll, Dominie Nash, Anne McKenzie Nickolson, Constance Norton, Jacquelyn Nouveau, Julia E. Pfaff, Sue Pierce, Judith Plotner, Sarah Louise Ricketts, Pam RuBert, Noel M. Ruessmann, Diane Savona, Joan Schulze, Patti Shaw, Brenda Smith, Daphne Taylor, Deborah Tilley, Bette Uscott-Woolsey, Kathy Weaver, Barbara Webster, Kathyanne White, Jeanne Williamson.

AQatS is planned and administered by an independent committee of multi-talented quilt artists with the support of other fiber artists and art aficionados who share their commitment to promoting the art quilt. Because of the ever-expanding scope of the exhibition, the committee determined in 2004 that they could plan and promote AQatS more effectively by moving from an annual to a biennial format.

Confidence & Faith: Gabriel Martinez

Dec 13, 2003 to Dec 13, 2003

On Saturday, December 13th, 2003, for one evening only, Martinez presented Confidence & Faith, a multi-media event inspired by the brilliance of Michelle Kwan, the most decorated figure skater in the history of the sport. Confidence & Faith represents an ideal merging of the PAA’s multidisciplinary mission and the former mansion that houses the PAA represents, for the artist, a “regal” location appropriate for his subject matter. Confidence & Faith (a title taken from Kwan’s motivational book The Winning Attitude) integrated film projection, live accompaniment by musicians from the world-renowned Curtis Institute of Music, installation art, site-specific drawings, and performance art.  This timed performance/event were seen in groups of 25.

more exercises in self-pity: Eric McDade

Sep 13, 2003 to Dec 2, 2003

Eric McDade's graphic black paint marker on white panel works are self-referential in their themes and content. Mimicking the aesthetic qualities of graphic cartoon novels, McDade is able to capture a series of events within a single iconic image. In fact, McDade's work can be compared to the graphic details and compositional structure of paintings by artist Roy Lichtenberg.

Exploring the possibilities of story-telling, the events in McDade's narratives-everyday observances or interactions with others--are often depicted within a single metaphorical moment, turning the trivial into a monumental epic.

As McDade states, "one could categorize many of my works as creative non-fiction. And others might be considered non-objective storytelling. Though some might just come forward and call them all lies." Eric McDade received his MFA from the Pennsylvania Academy of Fine Arts in 1996. He has had solo exhibitions at the Painted Bride Art Center (2002), Rosenwald-Wolf Gallery (2002), and has had numerous group exhibitions including: Hopscotch: Associative Leaps in the Construction of Narrative, Painted Bride Art Center (2002); Red Dot 2, Spector Gallery (2001); Buffered, Basekamp Gallery (2001); and Dolls, Nexus Gallery (1999). McDade lives and works in Philadelphia, PA.

A Delicate Constitution: Reconsidering the Decorative Aesthetic presented works that range from flower wreaths, to porcelain sculpture, to screenprints—all questioning the idea of the decorative object and its place in contemporary art.  This exhibition included the work of four women artists from the region: Linda Cordell, Carson Fox, Colleen Toledano, and Eva Wylie.

The objects presented in the exhibition A Delicate Constitution could generally be described with such terms as intricate, opulent, decorative, and sentimental. The four artists who participated in A Delicate Constitution, are loosely drawn to the formal aspects of Baroque and Rococo furnishings and interior decor, 19th century Romanticism, Victorian decorative arts, and Art Nouveau aesthetics, among many others. Whether it is the material used, the technique by which the work is assembled, or the themes addressed, each object presented  in  the  exhibition represents a larger recent trend towards the highly decorative and handmade. This exhibition is not meant to be a comprehensive survey of this trend, but rather a focus on the practice of four artists from this region who seem drawn to this movement either in technique or subject matter, or both.

About the Artists

Linda Cordell

Linda Cordell finds inspiration for her animal and insect porcelain sculptures in the history of animal sculpture in European art. The pieces reflect the lifelike realism and the classical style of such movements as the 19th Century French School of sculpture, Les Animaliers, and Victorian Staffordshire porcelain. The intricate and  highly decorative sensibility of Victorian and French  motifs are referenced in the realistic depiction of animals such as dogs, squirrels, and weasels, yet   their anthropomorphic behavior suggests an alternative interpretation: one involving human sexuality, violence, and death. What was once considered a fashionable collector’s item at the turn of the century has become a vehicle for Cordell to explore human behavior as well as our questionable relationship with the animal kingdom.

Cordell received her BFA from New York State College of Ceramics at Alfred University, Alfred, NY, and her MFA from Louisiana State University, Baton Rouge, LA. She has been an Artist in Residence at the Clay Studio in Philadelphia and at the John Michael Kohler Arts Center in Sheboygan, WI. Her work has been exhibited in the Cheongju International Craft Biennale at the National Cheongju Museum, Korea; the Fuller Craft Museum, Brockton, MA; The John Michael Kohler Arts Center, Sheboygan, WI; The Philadelphia International Airport, Philadelphia; the Nancy Margolies Gallery, New York, NY; Main Gallery at the University of Rhode Island, Kingston, RI; The Society of Arts and Crafts, Boston, MA; Everson Museum of Art, Syracuse, NY; Baltimore Clayworks, Baltimore, MD; and the Clay Studio, Philadelphia; among others. Cordell is a 1998 recipient of an Evelyn Shapiro Foundation Fellowship and a 2003 Pew Fellowship in the Arts in the category of crafts.

Carson Fox

Carson Fox has been developing two bodies of work simultaneously for several years: one involving floral pieces formed into wreaths and kissing balls; and one involving the use of thin wire fashioned into delicate screens of patterned lace or text. Both bodies of work stem from and interest in memorial or funerary motifs--both in their enticing beauty as well as their symbolic history in American Southern culture.

Fox’s floral wreaths also reflect a sense of dread and uncertainty despite their lush and elegant appearance.   These works incorporate glitter with  silk flowers, butterflies, and birds, yet the flowers are used to create a text message that is often contradictory to the elegant composition of the display. For example, a lovely mint green heart shaped wreath reads “LIAR” while a light blue diamond shaped work is inscribed with the word “FRAUD”. Fox states, “I seek a dual role: to allow for fleeting escape into a fantasy world of sparkling surfaces, before drawing you back to confront contradictory materials, text, or uncomfortable placement.”

Fox’s wire sculptures are inspired by memorial hair jewelry of the Victorian era. Finely wrought from thin strands of wire, Fox weaves the pieces into text or into a filigree pattern that not only reference the universal motif of the memento or commemorative object, but her personal sense of loss and remorse after the sudden death of her parents in 2001.

Fox received a BFA from the University of Pennsylvania and a MFA from Rutgers University, NJ. She has had numerous solo exhibitions and has participated in many national and international group exhibitions, for example: the National Museum of Wales in Cardiff, Wales; the Brunswiker Pavilion in Kiel, Germany; the Jane Voorhees Zimmerli Art Museum, Rutgers University, NJ; and the Woodmere Art Museum, Philadelphia. Her recent solo exhibitions include : Louche,  Boulder Museum of Contemporary Art, Boulder, CO; Reliquary, Claire Oliver Gallery, New York, NY; the Fleisher Art Memorial Challenge Exhibition, Philadelphia; and Broken, O.K. Harris Works of Art, New York, NY; among many others. She is the recipient of a Mid-Atlantic Foundation Grant, New Jersey Council on the Arts Fellowship/Grant in Sculpture, and an Emil Cresson Award. Her work is included in many public and private collections, including the Museum of Arts and Design, New York, the Royal Museum of Belgium, Hofstra Museum, Hempstead, the Jersey City Museum, Jersey City, NJ, and the Pennsylvania Academy of the Arts, Philadelphia. Fox is represented by Claire Oliver Gallery, New York, NY.

Colleen Toledano

Colleen Toledano is powerfully influenced by outward signs  of traditional femininity. Whether it is a perfume bottle  or  a compact  of  blush, a hair comb or a garter belt, Tolendano indulges in the superficial beauty of these objects, seducing the viewer  through   the  polished   and  intricate  surfaces  created through the use of porcelain, pewter, or sterling silver. Upon closer inspection, however, most of these objects have secondary, functional purpose as an object for defense.  Decorative objects more familiar to women turn into powerful weapons: a perfume bottle transforms into a grenade, a metal comb becomes a brass knuckle, or a blusher can be used as a harpoon. As Toledano states, “The neediness for the pieces to be part of the viewers’ lives is derived from the outward beauty and delicacy of the pieces and the viewers’ sudden realization of what the object is meant for and how it can be utilized.”

Toledano studied at the University of Massachusetts Dartmouth and received her MFA from Ohio University School of Art in 2004. She was the 2005 Philip C. Curtis Artist In Residence in Ceramics at Albion College, Albion, MI. Most recently her work has been exhibited in Winter Solstice IV, both at the Westchester Arts Council, White Plains, NY and The Studio: An Alternative Space for Contemporary Art in Armonk, NY. She has also exhibited at The Clay Studio, Philadelphia; Afif Gallery, Philadelphia; and the Millard Grand Project, St. Pancras Chambers, London. Toledano lives and works in Erie, PA.

Eva Wylie

Whether the work is printed directly on the wall or is an intricate web of paper and fabric weaved into a sculptural object, artist Eva Wylie uses the screenprint as the primary material for her pieces. Deriving her imagery from the internet as well as other graphic sources such as magazines or product designs, Wylie displaces the content of these images from their origin and creates new forms that play with the concepts of ornament, structure, and spatial illusion. The meaning of the original image is stripped of its significance and given over to a structure that becomes primarily ornamental.   In some, flat  screenprints  are molded into elegant   amorphous  patterns  resembling  a  patchwork quilt, while other works screenprinted directly onto the wall are rendered as a three-dimensional object. Each are intricately woven or printed, referencing more traditional concepts of ornamentation or the decorative object in American culture.

Wylie received a BA from Allegheny College in Meadville, PA and a MFA in Printmaking from Tyler School of Art, Temple University, Elkins Park, PA. She has recently exhibited at Vox Populi Gallery, Philadelphia; Artists Image Resource, Pittsburgh, PA; Allegheny College Art Gallery, Meadville, PA; Lancaster Museum of Art, Lancaster, PA; W. Made Gallery, Chicago, IL; Icebox at the Crane Art Center, Philadelphia; Creative Alliance, Baltimore, MD; and Cabrini College, Radner, PA; among many others. Wylie is a member of the artists’ cooperative Vox Populi in Philadelphia.

Flux: Kirk McCarthy

Sep 13, 2003 to Dec 2, 2003

Kirk McCarthy's flattened wall sculptures are molded from urethane rubber. Often hung vertically, they immediately call to reference the properties of two-dimensional painting, yet their slight segregation from the wall, as well as the texture and form of these sculptures, derivate from formal conditions of the flat surface. McCarthy experiments with the process of using latex to create what the artist has termed "frozen events." These works indeed speak of stillness, capturing a moment in the process of creation, defined by its shape and of the beauty found in the use of pure translucent color. Brett Davidson, director of Iman Gallery in Houston states, "McCarthy's forms act as ciphers of an invisible impulse that drives the moon's phases and the sea's strange and rhythmic undulations. These same impulses create forest fires, ice storms, and the varied eruptions of plant life, and the myriad movements of nature's systems."

McCarthy received his MFA in sculpture at the University of Washington, Seattle in 1993. He has had numerous solo exhibitions, most recently at Inman Gallery, Houston, TX (1998 and 1995), Contemporary Arts Museum, Houston, TX (1996), Sitka Center for Art and Ecology, Otis, OR (1991), the JPL Building, Banff, Alberta, Canada (1990) and San Jose State University, San Jose, CA (1987). Recent group exhibitions include: Postmark: An Abstract Effect, SITE, Santa Fe, Santa Fe, NM (1999); Hands On Color, Bellevue Art Museum, Bellevue, WA (1998); A posteriori, Charlie Uniform Tango, Dallas, TX (1998); Organic Produce, Galveston Arts Center, Galveston, TX (1998); A Cool Show, Arlington Museum of Art, Arlington, TX (1998); and Morph: Meta(Morph)osis and Bio(Morph)ism in Contemporary Sculpture, curated by Frances Colpitt, Blue Star Art Space, San Antonio, TX (1996).

Jackie Tileston's paintings are exercises in the synthesis of oppositions. Melding together digital imagery, the history of abstraction, new physics, Hindu deity images, and Chinese landscape painting, the final composition of Tileston's images propose a new order or sensibility, creating a new world within themselves--full of detail, yet at times, blurring and morphing into an abstracted universe.

As Tileston states, "these works speak to a world in which the beautiful and the absurd, the sacred and the mundane cooperate."

Tileston received a MFA in painting from Indiana University, Bloomington, in (1988) and a B.A. in Fine Arts at Yale University, New Haven CT (1983). Tileston now teaches painting at the University of Pennsylvania. Recent solo exhibitions include: University of New Mexico Art Gallery, Albuquerque, NM (2000); University of Texas at San Antonio, TX (1998); John Sommers Gallery, University of New Mexico, Albuquerque, NM (1998); Lawing Gallery, Houston, TX (1995 and 1997); and Longview Museum of Art, Longview, TX (1994). Prominent group exhibitions include: Now Serving, Art In General, New York, NY (2002); Viewing Room, PPOW Gallery, New York, NY (2002); The Hot Show, Arlington Museum of Art , Arlington, TX (1999); Texas Abstract: New Painting in the Nineties, McKinney Art Center, Dallas, TX; Bridge Center for Contemporary Art, El Paso; Museum of the Southwest, Midland, TX; Art Pace, San Antonio, TX (1995-96); and several exhibitions at the Museum of Fine Arts, Houston (1988-1995). Cures for Cosmophobia is Tileston's first solo exhibition in Philadelphia.

Pandemic: Imaging AIDS

Sep 13, 2003 to Dec 2, 2003

Pandemic: Imaging AIDS will encompass over 100 works from 47 artists from around the globe documenting twenty years of AIDS. The photos presented are a blending of photographic styles, combining photojournalism, documentary, graphic design, and fine art photography.

This series of original silver gelatin and color photographs captures the range of reponses that the AIDS crisis has engendered in the past two decades, ranging from the photographic communities first controversial efforts to document the first AIDS patients, to its need to protest policy issues, to the memorializing of those who have lost their lives. Both established artists and amateur photographers are represented, each striving to visualize an otherwise invisible epidemic. From the metaphorical interpretations of hope and endurance by artists Cindy Sherman and Robert Mapplethorpe, to the photographic responses of collective activist groups such as Photovoice and VISUAL AIDS, every image tells the story of survival.

The exhibition, film, and public programs are all organized geographically to explore how very different cultures-- Asia, South America, India, Africa, Europe and the United States--have interpreted its impact, bringing personal stories and cultural responses to the viewer through each story and photograph.

The exhibition and programs that encompass Pandemic: Imaging AIDS seek to make people aware of the damage wrought by AIDS, and, most importantly, of the courage and determination that activists, health professionals, public health officials, and artists all around the world have displayed in their efforts to halt the epidemic.

Reverie: Recent Work by Leah MacDonald

May 15, 2003 to Aug 31, 2003

Suspended between the mediums of photography and painting, Leah Rachel MacDonald presented a new body of mixed media works in the PAA’s Third Floor Gallery. Focused on the female form, MacDonald shoots and selects photographs of models and then manipulates the images through the application of oil and beeswax to create singular works. The exhibition title "reverie," meaning "abstracted musings or dream-like events," explains MacDonald’s working method as she layers her photographs, disguising or highlighting certain segments of the composition.

MacDonald explains her process as "a constant urge to layer, collect, scratch, and polish my photographs. I use paper as though it were my own skin, pulling it, peeling it away, washing it, painting it, and tearing it . . . each piece becomes an artifact of my life experience."

MacDonald received her MFA in 1998 from the California College of Arts and Crafts in Oakland, CA. She has had several solo exhibitions in both San Francisco and Philadelphia, including: Body Manipulations, Artforms, Manayunk, PA (2001); Paintings from the Attic, La Columbe, Manayunk, PA (2000); The Baby Doll Show, Atlas, San Francisco, CA (1999); and Relent, Myrtle Street Gallery, San Francisco, CA (1998). MacDonald has been living and working in Philadelphia since 1998

Urban Sanctuaries

May 15, 2003 to Aug 31, 2003

Urban Sanctuaries was a collaborative exhibition project between the Philadelphia Art Alliance and Taller Puertorriqueno, Inc. Three new art installations were commissioned by the Art Alliance and Taller Puertorriqueno for this project. Each addressed urban blight by rethinking the "sanctuary" in a non-religious context. Through concurrent indoor and outdoor exhibitions, this project explored how art can help combat urban blight by transforming vacant lots and imaginatively re-envisioning urban space. The participating artists are: Iris Brown with Pepón Osorio, Doris Nogueira-Rogers, and Jonas dos Santos. A publication documenting the creation of the "urban sanctuaries" and their installation at both the Art Alliance and the outdoor sites is available.

Established in 1974 by local Puerto Rican artists and community activists, Taller Puertorriqueno, located at 5th and Lehigh Streets in North Philadelphia, presents arts and culture of the Latino community through grounded artistic and cultural services. Taller Puertorriqueno is dedicated to the preservation, development and promotion of Puerto Rican and Latin American artistic and cultural traditions.

Support for this project has been provided by The National Endowment for the Arts, The Mid Atlantic Arts Foundation, The Pennsylvania Council on the Arts, and The Philadelphia Cultural Fund.

Third Floor Gallery

Elizabeth Hoak Doering presented a body of work based on her interest in the use of pieces of driftwood chosen from the shores of the Delaware River. In an attempt to reflect its previous use, Doering incorporated the found wood into a larger body of experiments that reactivate the objects as dynamic story-tellers of their own history. Doering used the selected pieces of driftwood to create a version of an automatic writing machine suspended by cables and activated by natural activity in the room (human movement around the work, changes in temperature, air movement). She termed these active works “sculpture drawings” or “kinetographs.” These active objects furthered her interest in the concepts of memory, transformation, substance, and energy. These active projects within the PAA’s Third Floor Gallery was accompanied by finished drawings made by the objects at different sites along the Delaware River.

Doering received her MFA in sculpture from the School for the Arts, Boston University in 1997 and received an MA in arts education at the University of the Arts, Philadelphia in 1991. Her recent solo exhibitions include: On the Edge, Philadelphia Sculptors, Long Beach Island, NJ (2002); Wind in Armenia: New Work, University City Arts League, Philadelphia (2002); Initiation (Pewter + Holy Water), Episcopal Cathedral of Philadelphia (2002); Midstream: Homage to Change, Nexus Foundation for Today’s Art-Community Gallery (2002); Church of Memory, The Monagri Foundation Centre for Contemporary Art Archangelos Monastery, Monagri, Cyprus (2001); Kyklos Gallery, Cyprus (1998); and The USIA American Center, Nicosa, Cyprus (1998). Other group exhibitions include Multiples, Main Line Center for the Arts, Haverford, PA (2000); and Sea@net, Site Installation with Praxis in the Akamas, Cyprus (2000).

Doering was a Fulbright Fellow in Sculpture in 1997 and 1998 in Cyprus. She received at Leeway Foundation Window of Opportunity Award in 2000. She is currently an adjunct professor at the University of Pennsylvania.

Presented new site-specific work and four new paintings in her Phases of Conception series inspired by her fascination with biology and micro-organisms. Carefully selected forms from nature, ranging from cell samples of blood to microscopic views of plants and berries allowed Oh to explore her interest in the minute details of nature that bind all organic material.  Another major influence on her work was color theory and the work of the 19th century painter Pierre Bonnard as an important source of inspiration.

Oh’s site specific work for the PAA will extended the themes behind the Phases of Conception series. Oh manipulated the elliptical motif predominant in previous works by using new materials to continue the forms off the two-dimensional canvas and onto the floor, walls, and ceiling of the gallery. The new paintings and the installation were an exploration of the elliptical form in both material as well as hue, value, and saturation.

Alice Oh was born in Seoul, Korea and received her MFA from Yale University in 1994.  She has had solo exhibitions at: Cantor Fitzgerald Gallery, Haverford College, Haverford, PA (2002); Gallery 817, The University of the Arts, Philadelphia (2002); Pentimenti Gallery, Philadelphia (2000); Nexus Foundation for Today’s Art (2000); and Bemis Center for Contemporary Arts, Omaha, NE (2000). Group exhibitions include: Keisho,  Keisho Art Center, Keisho, Japan (2000); Nexus and Just Made, Nexus Foundation for Today’s Art (2000, 1999); Faculty Exhibition, Levy Gallery, Moore College of Art and Design, Philadelphia (1998); Color Scheme, Axis Gallery, Philadelphia (1997); and Images,  Zoller Gallery, Pennsylvania State University, State College, PA (1996).

Oh is a 2000 recipient of a Visual Artist Award from the Pew Fellowships in the Arts. She has also received the Seedling Grant (2000) and a Window of Opportunity Award (1999) from the Leeway Foundation. Oh works and resides in Philadelphia and is Assistant Professor at the Moore College of Art and Design.


The first solo exhibition of Stuart Shils’ work in Center City Philadelphia since 1999. Shils presented his most recent body of oils and monotypes created during his latest trip to the coast of North Mayo in Ireland. These small scale works are a continuation of a larger body of landscape paintings, representing over a decade of summer excursions to the Irish Coast. Working in the plein-air tradition of painting on site out-of-doors, Shils describes these abstract works as the results of “the tension between seeing and feeling nature . . .and the sensuous connection between light and space.”

The foundation of Shils’ work is rooted in 19th century Romantic landscape painting. Shils describes his working method as a mystical experience that connects interior sensation to the natural world: “I cannot paint without a mind and eye to the external world. That connection with sensation is the point of departure and within the tradition that I imagine myself working, looking out to nature is the crux. But paradoxically, at a certain point, it is to get deeper into the nature of painting. . . it becomes a reflection of internal resonance.”

Shils (b. 1954) received his MFA at the Pennsylvania Academy of the Fine Arts in 1982. He has had many solo exhibitions, including most recently: Fenton Gallery, Cork, Ireland (2001); Davis and Langdale (2001); Woodmere Art Museum (2001); Hackett-Freedman Gallery, San Francisco, CA (2001); Tibor de Nagy Gallery, New York, NY (1997, 1999, 2000); Mangel Gallery (1993, 1994, 1995, 1997, 1999); Barton/Ryan Gallery, Boston, MA (1999); and Bernard Toale Gallery, Boston, MA (1997). Shils has also received numerous awards from: The Ballinglen Arts Foundation Fellowship, Bellycastle, Ireland (1994, 1999); NEA/Mid-Atlantic Arts Foundation Visual Arts Fellowship (1996); Pennsylvania Council on the Arts, Visual Arts State Fellowship (1996); and Pollock-Krasner Foundation Grant (1994). Shils lives and works in Philadelphia. He is represented by Davis and Langdale, New York.


Pictures Tell the Story: Ernest C. Withers

Feb 11, 2003 to May 4, 2003

Pictures Tell the Story”: Ernest C. Withers, which included 125 black-and-white photographs that capture the range of Withers’ interests as a participant-observer of black life in the South, primarily from the 1950s to the early 1970s. Working as a self-employed photographer in Memphis, Tennessee since 1950, Ernest Withers could be called the original photographer of the Civil Rights movement, the baseball players of the Diamond League, and the blues and jazz performers in his hometown of Memphis.

Famous photographs

Withers photographed most of the major Civil Rights events in the South.

Withers was the only photographer on the first desegregated city bus in Montgomery, Alabama.  This event culminated the 1956 bus boycott led by Rosa Parks and Martin Luther King, Jr.

In 1957, Withers photographed the court-ordered school desegregation in Little Rock, Arkansas, presided over by the National Guard.

In late March 1968, Withers helped to make the “I Am A Man” signs carried by striking Sanitation Workers in Memphis, Tennessee.  Some of his best-known photographs were captured at this event.

In early April 1968, Withers was on the scene of the assassination, aftermath, and funeral of Martin Luther King, Jr. in Memphis.

In addition to photographing the Civil Rights movement, Withers photographed portraits of baseball icons such as Willie Mays and Jackie Robinson, as well as up-and-coming blues and jazz performers such as B. B. King, Elvis Presley, Ray Charles, and Aretha Franklin.

Withers also photographed other aspects of black life and people who never became famous.  Since 1950, he has been a self-employed photographer and for many years earned a living by making house calls to photograph portraits of black families.  His Withers has called his trade “the black side of life” (or what at the time was called “segregated Negro Memphis”), the invisible part of American society in the 1950s and 1960s that the mainstream press did not cover.

“Pictures Tell the Story” has been organized by The Chrysler Museum of Art, Norfolk, VA and the PAA’s presentation has been underwritten in part by The Met Life Foundation, Greater Philadelphia Tourism and Marketing Corporation, and The LINKS, Inc. Penn Towne Chapter, with in-kind support from the Pennsylvania Convention Center Authority, Synterra Partners, NBC-10 TV, and WYBE TV.

Professional Background:

Until recently, Ernest Withers’ photographs were better known than he was. During the 1950 and 1960s, his photographs circulated among African-American newspapers and publications nationally. He often put himself at great personal risk by photographing Civil Rights protests and marches. To earn money to support his family, Withers sold undeveloped rolls of film to white photographers who did not get as close to incidents of civil unrest as Withers did.  He was not credited as the photographer when these images were in turn sold to the mainstream media. Consequently, many images in circulation have not been properly credited as by Ernest Withers until recently, since 1992, when he started to exhibit his photographs in museums.

Special Events:

As part of its Great Writers Series, the PAA hosted a lecture and discussion on African American fiction writer James Baldwin at the PAA on Tuesday, February 18 at 7 p.m.  Prof. Roland Williams of Temple University spoke on “James Baldwin: The Conundrum of Color.”  Admission is $5 (general public) and is free for PAA Members.

In conjunction with the exhibition, a one-day symposium was held on  Friday, April 11, 2004 to be held at the Pennsylvania Convention Center.  The Keynote Speaker was Phoebe Haddon, professor of law, Temple University.



Unbecoming: The Private as Public Spectacle

Jul 11, 2002 to Sep 1, 2002

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Elizabeth Campbell
Kara Crombie
Sarah Lucas
Joseph Maida
Connie Walsh

Unbecoming: The Private as Public Spectacle presents an exhibition of five artists whose work explores the ways in which media-produced spectacle has redefined (and at times collapsed) what is commonly referred to as "private" and "public" subjects and spaces. These artists primarily deal with pseudo-documentary, self-portraiture, and performance in various media-based formats such as photography (Elizabeth Campbell, Sarah Lucas, and Joseph Maida), multi-channel digital video (Kara Crombie), and video installation (Connie Walsh). The exhibition is presented in the first-floor galleries of the Philadelphia Art Alliance from July 11 through September 1, 2002. A special web site with additional information and images can be found through a link from the exhibitions page of the PAA web site ( or at This exhibition has been organized by Melissa Caldwell.

Unbecoming examines one the major symptomatic effects of media spectacle: the disintegration of boundaries between socially constructed norms of the public and the private. Theorists have argued that this collapse of the private and the public is an effect of the increasingly pervasive nature of communication technologies, including new digital conduits such as satellite and the Internet, as well as more traditional forms such as advertising and television. Rather than belying the association of film, photography and digital media with popular forms of entertainment and advertising, each artist in Unbecoming addresses this affiliation in different ways. In each project, mass-media techniques are referenced either directly or indirectly, broken-down, and reframed so that, paradoxically, we are made aware of the image’s seductive and voyeuristic qualities. These artists’ strategies of resistance simulate mass media signs by addressing subjects or spaces once considered private, yet remain critical (rather than complicit) with the publicizing effects of the spectacle. The resistance to easy consumption of these seemingly private images is addressed by the artists through an investigation of cultural norms, common-sense attitudes, and everyday activities.

The team of Alice Dommert and Andrew Phillips present a series of architectural projects that span the varied and extensive history of the firm. Models, photographs, drawings, and built objects will document both built and unbuilt works. Dommert/Phillips provides planning, design, and production services to institutions and individuals that include: programming, site analysis, planning, architectural design, interior design, and exhibition development and design. Dommert and Phillips find that the field of architecture and exhibit design mutually inform each other in their practice.

Alice Dommert is an exhibit designer and a licensed architect. Recent projects include a ten year Visitor Program Plan for the Morris Arboretum and a 15,000 square fool schematic exhibit design for the Mercer Museum. She is currently planning and developing an outdoor interpretive signage system for Philadelphia's Foundation for Architecture.

Andrew Phillips is a licensed architect who has worked on a wide array of educational, recreational, and residential projects. Recent projects include: Kakum National Park Visitor's Center in Ghana, a Visitor's Pavilion for Reiman Gardens at the Iowa State University and new loft offices for Ballentyne Brumble Communications. Current projects include: the Fruit House at Longwood Gardens in Kennet Square, PA; and a residence and studio for a painter in Narberth. In 2001, Phillips received the AIA Philadelphia Chapter Young Architect Award.

The Philadelphia Art Alliance continues its commitment to hosting exhibitions of the Leeway Foundation's visual arts recipients current work. (The Print Center, located at 1614 Latimer St., Philadelphia, will host a concurrent exhibition of six of the award winners.) The eight Emerging and Established artists in photography and works on paper featured at the PAA are: Barbara Bullock (Bessie Berman Award); Tara Goings (Award of Achievement); Rachel Stecker (Inspiration Award); Yukie Kobayashi (Inspiration Award); Melina Hammer (Inspiration Award); Zoe Strauss (Seedling Award); Adrienne Stalek (Seedling Award); Karen Fogarty (Seedling Award). This is the fourth collaboration between the PAA and the Leeway Foundation.

The Leeway Foundation was established in 1993 by artist Linda Lee Alter to promote the welfare of women and to benefit the arts. The Foundation's grant programs support outstanding, dedicated women artists in the Philadelphia five-county area and encourage their increased recognition and representation in the community. The recipient artists were selected by a three-person panel that possessed expertise in the overlapping disciplines of photography and works on paper: Judith Brodsky, Professor Emerita at Rutgers University and founder of Rutgers Center for Innovate Print and Paper; Jan Howard, Curator of Prints, Drawings, and Photographs at the Museum of Art, Rhode Island School of Design; and Linda Lee Alter, painter and current board member of the Leeway Foundation.

Barbara Bullock is the recipient of the $50,000 Bessie Berman Grant which honors the founder's grandmother and is presented annually to a distinguished woman artist 50 years or older. Bullock has had several solo exhibitions at: Mercer County College, Mercer, PA (2002); Walt Whitman Cultural Arts Center, Camden, NJ (2000); Penn State University, State College, PA (1999); the Wilmington Arts Commission, Wilmington, DE (1990); the African American Cultural Museum, Philadelphia (1988); and Howard University, Washington, DC (1986). She is also the recipient of several awards including: Pew Fellowship in the Arts Award (1997); Pennsylvania Council on the Arts (1994); and a Public Art Commission Award at the Philadelphia International Airport.

Tara Goings is the recipient of the Award for Achievement of $20,000. Goings received her MFA from Indiana University and is the Director of Mangel Gallery, Philadelphia. She has had solo exhibitions at Schmidt Dean Gallery, Indiana University, and Tyler School of Art Galleries, Elkins Park, PA. In 1999 Goings was awarded a Window of Opportunity Grant from the Leeway Foundation and received the Rohm and Haas Purchase Prize in 1988.

Rachel Stecker is the recipient of the Leeway Inspiration Awards of $7,500. Stecker received a BFA in 2001 from the Tyler School of Art, Philadelphia, PA and has had several exhibitions during her study at the Tyler School of Art. In 2001, Stecker received the Custom Color photography award and also received the Rhode Island School of Design Photography Award (1997).

Yukie Kobayashi is the recipient of the Leeway Inspiration Awards of $7,500. Kobayashi received an MFA from the Pennsylvania Academy of Fine Arts, Philadelphia and is an art teacher at the Cheltenham Center for the Arts. She has had a solo exhibition at Nexus Gallery, Philadelphia, PA and has also exhibited at VAM Gallery, Budapest, Hunagary (2001) the American Culture Center, Damascus, Syria (2000); and Common Ground Gallery, Budapest, Hungary (1999). Kobayashi was featured in the "Window on Broad" at the Rosenwald-Wolf Gallery, Philadelphia (2001) and the Works on Paper 2001 juried exhibition. She has received: the Charles E Durtow Award in Sculpture (1999); the Ward Prize in Sculpture (1998): and the Angelo Pinto Prize for Experimental Work (1998)

Melina Hammer is the recipient of the Leeway Inspiration Awards of $7,500. Hammer received her BFA at the University of the Arts, Philadelphia (1998) and also studied at the Haystack Mountain School of Crafts. Exhibitions include: Traumatized Spaces, HammerSpace, PA (2002); Le Grange National Biennial (2000); About Face, St. Louis Artists Guild, MO (2000); and 9th Annual Juried Exhibition, Elizabethtown College, PA (2000).

Zoe Strauss is the recipient of the Seedling Award of $2,500. Strauss received a BA in Women's Studies from Temple University and is the Art Director for the Kensington Welfare Rights Union. Adrienne Stalek is the recipient of the Leeway Seedling Award of $2,500. Stalek received her MFA from Tyler School of Art and is the Assistant Dean of the University of the Arts Sculpture Department. Recent exhibitions have been at: Abington Art Center, Jenkintown, PA (2002 and 2000); The Philadelphia, Sketch Club (2002); The University of the Arts (2001 and 2002); and the Rosenwald-Wolf Gallery‹Window on Broad, Philadelphia, PA. She has recently received the Richard Guggenheim Award for Sculpture (2002);

Karen Fogarty is the recipient of the Leeway Seedling Award of $2,500. Fogarty has studied at the Moore College of Art and Pennsylvania Academy of Fine Arts. She has also be an art instructor at Wayne Art Center. In addition to several exhibitions at PAFA, Fogarty has exhibited at the Artists House, Philadelphia (1999, 2000, 2001); and the Philadelphia Chamber of Commerce, Philadelphia (2000).

Interviews by Janine Altongy
Organized by the Aperture Foundation; sponsored by The Honickman Foundation

The Philadelphia Art Alliance is pleased to host the first exhibition in Philadelphia of eminent photojournalist Eugene Richards's work. Richards is renowned for his publications of black and white images that explore difficult social issues, ranging from emergency room care, to families living in poverty, to drug addiction, to gun violence. On view from December 5 to February 2, 2003, Richards's most recent project, in collaboration with Janine Altongy, is titled Stepping Through the Ashes, a phrase invoked in a eulogy for a fallen firefighter. Richards's photographs of the aftermath of September 11th in New York are paired with excerpts of interviews conducted by Altongy. Richards draws broader historical significance from Ground Zero than its designation as the site of the former World Trade Center. He regards it as an "ever-evolving repository for the missing, a focal point for grieving, for remembering, for reflection, for self-examination." He also draws comparisons with the Warsaw Ghetto, Sarajevo, the firebombing of Dresden, the blitz on London, and Hiroshima--other ruined cities where innocent lives were lost.

Altongy interviewed firefighters, a police officer, an equity trader, a building restoration worker, a funeral director, an office worker who was evacuated from the South Tower, and a father who lost his only child, among others. Richards's photographs and Altongy's excerpted interviews compliment and reinforce one another in both the exhibition and the accompanying eponymous book, published by Aperture and available for purchase through the PAA.

Eugene Richards studied photography at MIT and is the author of eleven books. Richards has also worked as a freelance editorial photographer for publications such as LIFE, The New York Times Magazine, The London Sunday Times and Granta. Richards is the recipient of numerous photography awards, including the W. Eugene Smith Memorial Award and the Robert F. Kennedy Lifetime Achievement Journalism Award for his coverage of the disadvantaged. Richards is also the recipient of fellowships from the Guggenheim Foundation, the National Endowment for the Arts, the Henry J. Kaiser Family Foundation, and OSI Project on Death In America. Richards's first book was Dorchester Days (1978; reprinted in 2001). His subsequent books include: Exploding Into Life (1986) which won the Nikon Book of the Year award; Below the Line: Living Poor in America (1987), for which he was named ICP Photojournalist of the Year; Cocaine True, Cocaine Blue (1994) received the Kraszna-Krausz Award for Photographic Innovation; and Americans We (1994) won the International Center of Photography's Infinity Award. Richards' film, but, the day came (2000), won the Double Take Jury Award for Best Short Film, the Eastman Kodak Cinematography Award and the Best Documentary Award at the Hope Film Festival. A touring retrospective of Richards's work premiered at the Rencontres Inernationales de la Photographies in Arles, France in July 1997.

Janine Altongy is a certified social worker, writer, video editor, and documentary film producer. Her collaborative projects with Eugene Richards include two books (Below the Line: Living Poor in America and Homeless in America), a fundraising book and film about Incarnation Children's Center, a New York City residence for children with HIV and AIDS, and Richards's award-winning short documentary film But, the day came, which she co-produced. Altongy is co-director of Many Voices, a not-for-profit media group in Brooklyn that produces socially-concerned books and films.

Poetics of Clay: An International Perspective

Sep 11, 2001 to Dec 20, 2001

Initiated by the Philadelphia Art Alliance and organized and selected by Helen W. Drutt English, Poetics of Clay surveys the diversity of style and range of ideas in the field of international ceramic art of the post-World War II period. The exhibition includes vessels, domestic ware, sculpture, and an architectural installation by artists from 17 countries. Selected works from the exhibition will travel to the Museum of Art and Design in Helsinki, Finland from January 25 to April 1, 2002.

Poetics of Clay celebrates the achievements of twentieth-century international artists whose freedom and expansion of expression, constant inquiry, and search for personal identity herald their art. The past 50 years in ceramic art have been an extraordinary period of experimentation and risk-taking by artists such as Robert Arneson, Wayne Higby, Ron Nagle, Ken Price, Rudolf Staffel, Peter Voulkos (USA), Gordon Baldwin, Hans Coper, Bernhard Leach, Dame Lucie Rie(Great Britain), Takaro Araki (Japan), Guido Geelen (The Netherlands), Gertraud Möhwald (Germany), among others. The movement in the ceramic world toward fusing with mainstream concepts in art is witnessed through non-functional works, as well as through the continuous commitment to function.

Major support for Poetics of Clay has been provided by: First Union National Bank; The William B. Dietrich Foundation, the Finnish Ministry of Education; and The Horace W. Goldsmith Foundation. Supplemental funding is also provided by the Fels Fund and anonymous donors.
Lenders to "Poetics of Clay:"
Arabia Museum, Helsinki, Finland
Helen and Jack Bershad
Jill and Sheldon Bonovitz
Gail M. and Bob Brown
The Clay Studio, Philadelphia, PA
The Contemporary Museum, Honolulu, HI
Helen and Leonard Evelev
Joseph Fafard
Lynn E. Farkas
Caroline and Roger Ford
Guido Geelen Diane and Marc Grainer
Sandy and Lou Grotta
Marge and Philip Kalodner
Jane and Leonard Korman
Vicente Lim and Robert Tooey The Makler Family
Regina and Marlin Miller
Dr. Charles W. Nichols
Robert L. Pfannebecker
The Philadelphia Museum of Art
Tina Phipps and Barbara Rice
Kristina Riska
Lynne B. Sagalyn
Dr. Stanley H. Shapiro
Janet M. and Joseph D. Shein
Anna Smuckler
Lenore and Morton Weiss Arthur Joseph Williams
Dina and Jerry Wind
Paula Winokur

Biographical Sketches of Selected Artists:

Robert Arneson (1930 - 1992, California, USA) featured work: "Nasal Flat," 1981 from the collection of Janet and Joseph Shein, Part of Arneson's bold, humorous Self-Portraits series,"Nasal Flat" is hand- built, glazed ceramic and 87 inches high. Arneson is considered the father of the Funk Art Movement. He is a central figure in the history of 20th century ceramics, particularly the ceramic sculpture movement of the West Coast.

Guido Geelen (b. 1961, Thorn , The Netherlands) featured work: "Untitled," 1988 from the collection of the artist "Untitled" is fired clay with a semi-transparent glaze and silver and mother-of- pearl luster. Geelen is known as a sculptor whose unorthodox use of ceramics has won him the Dr. A. H. Heineken prize for art and a solo exhibition at the Stedelisk, Amsterdam in 2000.

Paula Winokur's featured work: "Chaco Memory," a porcelain piece created in 1990, comes from the collection of the artist and was exhibited at the Philadelphia Museum of Art in 1992. Over the past 15 years, Ms. Winokur's work has been influenced by the earth's natural anomalies, such as cliffs, ledges, crevices and canyons, and the effects of wind, earthquakes, and geological shifts. Ms. Winokur states, "I believe that my work is about memory...about places which exist and yet do not exist...a collection of places which I have (perhaps) seen." Ms. Drutt English selected Ms. Winokur's "Chaco Memory" to represent the work of one of Philadelphia's most talented ceramists. Ms. Winokur's inaugural exhibition was held in 1974 at Helen Drutt Gallery. Since then, Ms. Winokur has received numerous awards, grants and fellowships. Her work has been exhibited at the Philadelphia Museum of Art, the American Craft Museum in New York, the Smithsonian Institution in Washington, D.C., Los Angeles County Museum of Art and is in their permanent collections.

Gertraud Möhwald (b. 1929, Dresden, Germany) featured work: "Head with Hands," 1992 from a private collection This piece showcases Ms. Möhwald's technique of using shards of discarded ceramics to augment her faces and forms. This is a rare opportunity to view Ms. Möhwald's figurative works. Having lived most of her adult life in the former East Germany, only six of Ms. Möhwald's works exist in the USA.

Rudolf Staffel (b. 1911, Texas, USA) featured work: "Light Gatherer," ca. 1975-78 from the collection of Vicente Lim & Robert Tooey. Staffel is known for his abstraction of form and use of light. His "Light Gatherer" series is composed of translucent porcelain pieces. Staffel is the only American potter to be given a solo retrospective by the Philadelphia Museum of Art in 1997. Staffel has had two retrospectives in Europe. His work is in major collections throughout the world, including the Metropolitan Museum of Art in New York and the Victoria and Albert Museum in London.

Guest Curator: 
Helen W. Drutt English is an internationally recognized authority in the field of contemporary craft based in Philadelphia. She is founder/director of Helen Drutt Gallery, located since 1973 in Philadelphia. Ms. Drutt English taught at Philadelphia College of Art from 1972 to 1982 and at Moore College of Art and Design from 1974 to 1987. In addition, she has taught at the University of Hawaii, Honolulu,Wellesley College, and Tyler School of Art, Temple University. Ms. Drutt English was executive director and a founding member of the Philadelphia Council of Professional Craftsmen from 1968 to 1973. She has worked as a curator and art consultant for the American Craft Museum, The National Museum of Modern Art, Kyoto, Japan, the Society for Art in Craft, New York/Pittsburgh, the U.S. State Department, the Pittsburgh Center for the Visual Arts, and director of the Moore College of Art and Design Gallery from 1978 to 1980.

Ms. Drutt English has received many awards, among them the Lifetime Achievement in the Crafts award from the National Museum of Women in the Arts in 1993, Fleisher Founder's Day Award from the Samuel S. Fleisher Art Memorial, Philadelphia Museum of Art in 1994, an honorary doctorate of the arts from Moore College of Art and Design in 1990. In 1999, she was named a Visionary by the American Craft Museum. In 2001, she received an honorary doctorate from the University of the Arts in Philadelphia.

New sculptures and drawings by this Philadelphia-born and trained and New York-based artist. Maquettes for imaginary, invented machines and contraptions.

Catalogue available, with essay by Nancy Princenthal, published by The Cooper Union School for the Advancement of Science and Art, School of Engineering, available through the PAA.

The Philadelphia Art Alliance presents 227 small-scale black-and-white vintage photographs by the famous photographer Weegee (Arthur Fellig; 1899-1968), taken primarily in New York City from 1935 to 1945. Weegee’s photographs are famous for their depictions of street life in the Lower East Side, Brooklyn, Harlem, and Coney Island, but also have been recognized by scholars for their impact upon and likeness to film noir conventions, particularly their bold compositions, tight framing, and dramatic lighting effects which were achieved during darkroom experimentation. Weegee’s composite "portrait" of Manhattan documents an era and stands as an examplar of avant-garde photography.

This exhibition was organized by the Rupertinum Museum of Modern and Contemporary Art, Salzburg, Austria, and selected from one of the world’s premier private collection of Weegee photographs.

Weegee's Story has been presented at: The Rupertinum, Salzburg, Austria; The Museum of Modern Art, Oxford, England; Magasin 3 Konsthall, Stockholm, Sweden; Photographische Sammlung, Cologne, Germany; the Chrysler Museum of Art, Norfolk, VA; and the Philadelphia Art Alliance, Philadelphia, PA.

Digital Deluxe

Jun 7, 2001 to Jul 29, 2001

The Philadelphia Art Alliance presents Digital Deluxe, a sampling of contemporary art-sculpture, photography, drawing, video, film, printmaking, installation, and sound ­that has been either enhanced with or produced by digital technologies. Participating artists include: Taryn FitzGerald; Judy Gelles; Richard Harrod; Colin Ives; Aaron Levy and Andrew Zitcer; Aaron Levy and Diana Prescott; Jonathan Lewis; Nancy Lewis; Kathy Marmor; Annu P. Matthew; Nancy Miller; Elieen Neff; and Teri Rueb.

Sometimes referred to by the umbrella term "new media," the works in this exhibition have been either entirely created with or enhanced by the use of a computer, and, in several cases, take the computer itself — or technology more broadly speaking — as subject. The word "practice" should be stressed, as most of the works in this exhibition are not precious, unique objects — collector’s items -- but ephemeral, technology-dependent, and infinitely reproducible (at least in theory). The very appearance of digital art is continually changing as technological refinements and innovations drive changes in new media practices.

Sound and interactivity are also major components of the works included in Digital Deluxe. Ambient music, recorded "natural" sound, manipulated sound, noise, and voice augment, complete, and in one case, substitute for the visual image. Furthermore, rather than producing traditional objects for contemplation, certain artists in this exhibition affect an aesthetic experience through the deliberate engagement of the viewer/visitor while others create installations, some involving projections, that act as environments for contemplation and de-emphasize object-orientation.

Annu Palakunnathur Matthew: Mrityudand

Annu Palakunnathu Matthew focuses on how commercial films in her homeland of India reflect and reinforce stereotyped gender roles in Indian culture. "Bollywood" refers to the name given to the largest film industry in the world, concentrated in Bombay. Images from real cinema posters are combined and altered to create works that, in the artist’s words, "explore issues such as the position of women in Indian society, the dowry system, arranged marriages, discrimination based on skin color, the stigma of pre-marital relationships and inter-racial relationships." Matthew uses a software program that allows her to create unusually large images that mimic the size of movie posters.

Matthew received her MFA in photography from the University of Delaware in 1997 and is currently assistant professor of art at the University of Rhode Island, Kingston, RI. She has been awarded residencies, grants, and fellowships, from: Vermont Studio Center, Johnson, VT (2000); Rhode Island State Council on the Arts (2001); Visual Studies Workshop; New York State Council for the Arts (2000); and University of Rhode Island (1999); among others. Matthew’s work has been published in Exposure, LensWork, Nueva Luz, Photographers International, Photo Metro and The Photo Review.

Nancy Miller: Gush and Bore

Nancy Miller’s computer-generated digital prints could be characterized as satirical pastiches of a broad range of subjects: iconography from art history, imagery from popular culture and advertising, and portraits of political leaders and American celebrities. Using Photoshop software, Miller prints her images in a horizontal format, echoing the fantastic panoramic landscapes framed by architectural facades she depicts in her prints. Works such as "Gush and Bore or Chaos in Florida," or "The American Couch Potato" comment wryly upon recent political events and American social mores.

Miller, who lives in New York City, studied art at Bennet College and the Maryland Institute College of Art, completing her studies in 1949. Formerly a painter, Miller became known for her Plexiglas and paper sculptures in the 1970s and 1980s. Ten years ago, Miller turned to digital production. She has exhibited extensively in the United States and Europe since 1965 and is included in over a thousand public and private collections around the world.

Taryn FitzGerald: Under My Skin Still

Taryn FitzGerald’s short videos explore the nature of repression and its connection to compulsive behavior in the psyche. Over the Rainbow (2001; 11 min.) is considered by Fitzgerald to be the foundation for all three of the videos in this exhibition. Based on the film The Wizard of Oz, the film explores personal perception and as the artist describes "the place of the imagination in creating reality". In the video In Your Quiet Little Way (1996; 10 min.) FitzGerald evokes the metaphor of the empty home to explore memories from her childhood of powerlessness, alienation, and confinement. Body image, perception, and self-destruction are the underlying issues in Under My Skin (1999, 7:15 min.) as FitzGerald explores her own struggle with a long-time eating disorder. Each video is shot in 8mm formats and then digitized from analog to allow FitzGerald to edit and manipulate the imagery through various computer programs.

FitzGerald, who lives in Brooklyn, NY, studied at the L’Ecole Supérieure d’Art Visuel in Geneva, Switzerland and received her MFA from the School of Visual Arts, New York, NY. A few of her recent awards include: Best Experimental Work, US Super 8/ 8 mm Film & Video Festival (2000); Winner, 6th National Showcase Exhibition, The Alternative Museum, New York, NY; and the Paula Rhodes Memorial Award, School of Visual Arts, New York, NY (1996). FitzGerald currently teaches at Future Media Concepts, New York, NY.

Judy Gelles: Invented Landscape

Judy Gelles combines ideas of place and memory in her series of digital photographs called Invented Landscapes. Digitally manipulated photographs of the disparate landscapes of the Maine woods and the Atlantic coast of Florida are layered inside intimately-sized lightboxes. Gelles illustrates how memories of her family’s seasonal homes of Maine and Florida have fused into one narrative over the course of time and distance.

Gelles received her MFA in photography from the Rhode Island School of Design and currently teaches at the University of the Arts, Philadelphia, and the International Center of Photography, New York, NY. Gelles was recently awarded an Artists as Catalyst Mid-Atlantic Foundation Grant, (2001), the Independence Foundation Fellowship in the Arts (2000), and the Leeway Foundation Window of Opportunity Award, Philadelphia (1999), among many others.

Richard Harrod: Slapartment

Richard Harrod investigates how both environment and technology have evolved to the point of becoming what he calls a "solipsistic prison." In the projected digital video-loop, Slapartment, the "character" of a yellow square incessantly scans a run-down room of an apartment for signs of habitation. A fragment of the sound track to The Night of the Living Dead offers an ominous backdrop to the square’s obsessive swirling search of the room. B-Motion, an interactive computer database and live website, is a work in progress that addresses the same principle of self and environment imprisoned by technology. Viewers are asked to enter into the database their coordinates within the city of Philadelphia during different times of the day. Each participant is represented by a small red dot on the computer screen. The data represents the movements of the participants, which take on a discernable pattern on the computer screen. Viewers are made aware of their own presence within the larger context of the city. As Harrod states, B Motion ultimately illustrates how "our mission, our drama, our awareness of the self in a larger environment can only backfire."

Harrod received his M.F.A. in sculpture from Tyler School of Art, Temple University, Philadelphia. He was the director in 1999-2000 of Blohard Gallery, Philadelphia, and co-curated Mental Wilderness at the Gale Gates Gallery, Brooklyn, NY (2000). Harrod was awarded the Mildred Boucher Award (1999), a Pew Fellowship in the Arts, Philadelphia (1997), and the Presidential Prize at Beaver College, Glenside, PA (1996). Harrod lives in Queens, NY.

Colin Ives: For Man with a Hammer

In For a Man with a Hammer, Colin Ives examines the ways in which the dichotomy of mind and body has manifested itself in the digital age. A small video screen displaying an animated image is located behind a viewfinder lens placed within the head of an oversized hammer. The hammer sculpture stands upright in a bucket full of wax nails. Sounds of hammering and heartbeats emanate from the base of the pedestal like ghostly echoes. The sounds and the unusable wax nails refer to the tool’s previous use. In transforming the hammer from a tool symbolizing physical labor into an artifact of history, Ives observes that "these antiquarian tools, which once occupied us, have become a kind of phantom limb: we carry with us the heft, the trace, and shape of an appendage that is no longer there."

Ives received his MFA in multimedia and video art from the University of Iowa, Iowa City, and is currently an assistant professor of Imaging and Digital Arts at the University of Maryland, Baltimore County, Baltimore, MD. His digital installations and web projects have appeared in a number of venues, including: For the Birds, Evergreen State College, Olympia, WA (2001); Biennial 2000, Delaware Art Museum, Wilmington DE; Artscape 2000 minus 1, Festival site at Maryland Institute College of Art, Baltimore, MD (1999); andTool as Art: The Hechinger Collection, The National Building Museum, Washington, D.C. (1999).

Aaron Levy and Andrew Zitcer: ",aural.2"

Aaron Levy and Andrew Zitcer conceived of the sound installation ".aural", which uses the voice of avant-garde composer and performer John Cage as the basis for sound files stored on two computer hard drives. Levy and Zitcer created bar codes that, when scanned by the visitor/viewer, activate a total of 130 different, manipulated sound files excerpted from a CD of Cage reading from his journals. The first installation of this project took place at the Kelly Writer’s House at the University of Pennsylvania. In the Art Alliance's installation, ".aural.2," the bar codes are placed above the keyboard of a piano in the position of sheet music, allowing visitors two possible levels of interaction. Two scanners allow different sound files to play simultaneously, creating a sound environment. As the sound files are activated by the visitor, a randomly selected passage of Cage speaking is also activated on nearby computer screens, which flow at the speed and cadence of the active sound file.

Aaron Levy and Diana Prescott: caul. casual. stall.

Aaron Levy collaborated with Diana Prescott on three short digital films, caul. causal. stall, presented on a television monitor. Resembling the graininess of super 8 film, short outtakes of everyday activities in two of the films, one of traffic on a highway, the other of a dog chasing its tail, are subtly manipulated and repeated for the duration of the film. The accompanying sound tracks are composed from recorded and edited language. In the third film, .stall, a tiny digital camera records a few seconds of a dye-injected heart pumping filmed from outside the body; this footage was transferred to CD-ROM, given to the patient and then edited by the artists. An accompanying sound track of a heart beat overlaid with digitally manipulated sounds, one of which resembles an EKG monitor of a "flatline," underscores the disjuncture between image and language.

Aaron Levy is a Philadelphia-based artist and the founding curator of SLOUGHT Networks ( SLOUGHT is comprised of a series of local and web-based arts initiatives. These include lecture series, curated events, publications, and concerts. Recently, Levy was 1999-2000 Resident Junior Fellow at the Kelly Writer’s House, University of Pennsylvania. Levy's work spans photography, prose poetry, and the digital arts. Recent exhibitions include "sad gratitude" (Schaffner Gallery, New York), "artsEdge" (Faculty Architecture Exhibit, University of Pennsylvania), and "First Blood" (Ericson Gallery, Philadelphia, June 2001).

Andrew Zitcer is an artist and community arts activist based in West Philadelphia. His work combines a background in music and poetry with an interest in emerging techniques in digital audio. Zitcer is a founder and director of the Foundation Community Arts Initiative, a collaborative arts program and performance series. Zitcer was the 2000-2001 Junior Fellow at the Kelly Writer's House, University of Pennsylvania.

Diana Prescott is the lead singer/bassist for Philadelphia-based band Eltro. Eltro received their first critical acclaim with the 1998 release of their album Information Changer on Philadelphia’s Miner Street label. In 2001, Absolutely Kosher Records oversaw the release of Eltro's second LP, Velodrome. Diana received a MFA in painting from the Moore College of Art and Design. Her current work encompasses video art and experimental sound.

Jonathan Lewis: See Candy

Jonathan Lewis presents two series of prints based on the digital manipulation of found objects. In See Candy, Lewis photographs and digitally scans various types of candy wrappers. The colors are pulled from the original scan and pushed into various bands stretched to the point of complete abstraction. Postcards of famous paintings are the basis for a second series of prints called Heavenly Bodies. A small pixelated-portion of the scanned image is enlarged to encompass the entire area of the final Iris print. Each series follows a process of moving from figuration to abstraction, reaching what Lewis considers to be the "atomic essence" of the visual image.

Lewis, who lives in Philadelphia, received his BA in Art History at Robinson College, Cambridge University, Cambridge, England and a certificate in Professional Photographic Practice at the London College of Printing. He was recently chosen to exhibit in the 2001 Challenge Exhibition at Fleisher Art Memorial, Philadelphia, and has exhibited in New Prints 2001 at the International Print Center, New York, NY. Lewis is currently the Iris printmaker at the Silicon Gallery, Philadelphia.

Nancy Lewis: "The Tattoo Studies"  

Nancy Lewis’s computer drawings from her series called "the tattoo studies" are based on a personal language of symbols such as diamonds, flames, animals, and rainbows. Lewis uses the same approach in her digital works as in her paintings. She attempts to maintain a "hand-drawn" look through rough, bit-mapped edges and unmodulated colors simply drawn with a mouse in Appleworks software. Lewis considers these drawings to be designs for a line of temporary tattoos she would like to market someday.

Lewis received her BA from San Francisco State University and her MFA from the Pennsylvania Academy of Fine Arts. She is the recipient of a Window of Opportunity Award from the Leeway Foundation, Philadelphia (1999) and a Visual Arts Fellowship for Painting from the Pennsylvania Council on the Arts (2000). Lewis is currently a member of Vox Populi and lives in Philadelphia.

Kathy Marmor: Dynamics of Forgetting: Screen Memories

Kathy Marmor investigates the correlation between the body, language, and the computer screen in one of a series of projects called "The Dynamics of Forgetting." Digitally manipulated images of the artist’s body are overlaid with "screen shots" from the computer to examine how the computer screen behaves like language and the unconscious. Marmor attempts to recreate Lacan’s Objet petit (the object of desire), She explores how the image-as-screen conceals the ways in which language constructs the female body as fetish object. Digitally enhanced images taken from video stills and screen shots are sandwiched in Plexiglas plates and suspended throughout the gallery. Other images of the fragmented body are projected onto those suspended Plexiglas plates and reflect on the gallery walls to create a total environment.

Marmor received her MFA in Imaging and Digital Arts at the University of Maryland, Baltimore County, Baltimore, MD and is currently assistant professor of art at the University of Vermont, Burlington, VT. In 1999, Marmor received a research grant from the University of Vermont. During the summer Marmor lives in Baltimore.

Eileen Neff: Figure/Ground

In Figure/Ground, Eileen Neff manipulates her photographs digitally to blur the distinctions between interior and exterior. Using Photoshop, Neff layers photographs of a single cloud and interior with multiple doorways, confounding viewers’ expectations of the objectivity of the photographic image. The title Figure/Ground playfully suggests that the cloud, normally an intangible object, in its vertical orientation is "figure" and in its horizontal orientation is "ground." Figure/Ground is related to a recent series by Neff that explores the distinctions of stillness/motion, the perceptible/ intangible, and interior/exterior to question our conventional associations of objects and the "truth value" of photography itself.

Neff received her MFA in photography from the Tyler School of Art, Temple University, Philadelphia. She has received numerous fellowships and awards from: The Rosenbach Museum and Library, Philadelphia (2000); The Leeway Foundation (1996); Pew Fellowship in the Arts (1993-94); Fabric Workshop and Museum, Philadelphia (1992); La Napoule Art Foundation, Napoule, France (1991); and National Endowment for the Arts, Washington, D.C. (1988-1990). Neff currently teaches painting and media arts at the University of the Arts in Philadelphia and divides her time between Philadelphia and New York City.

Teri Rueb: Cairn

In her digital sculptures, Teri Rueb references the technical structure of the computer as a translation device from binary code to narratives used by the average person. In Cairn, three sets of stacked glass sheets serve as a metaphor for the strata of the computer. In each Cairn Rueb clarifies the otherwise opaque functions of the computer, from binary code ("on" and "off"), to programming languages and compilers, to natural language and text as seen on the screen. Sound samples from nature are activated by the movement of the viewer around one Cairn, underscoring the ability of the computer to respond to and translate our motions. Each sculpture also metaphorically represents a cairn, a man-made stone structure found in nature and used as both a trail marker and a pagan funerary memorial. As Reub states, the Cairn series "reflects on the human inclination to seek our own image in the machine."

Rueb received a MA in interactive telecommunications from the Tisch School of the Arts, New York University and is assistant professor of imaging, digital art, and experimental interfaces at the University of Maryland, Baltimore County, Baltimore, MD. In additional to national and international group exhibitions, Rueb has produced several large-scale site-specific installations including: TRACE: an environmental sound installation, with the support of The Banff Centre for the Arts at Yoho National Park, Alberta, Canada (1999); and OPEN CITY: public space and civic identity, for the Commission for Site-Projects DC, Washington, D.C. (1999). Rueb has been most active as a lecturer at conferences and symposia on sound and art in Germany and England.

Stephanie Knopp: "Menagerie"

Stephanie Knopp received her MFA in graphic design from Pennsylvania State University, State College, PA and currently is the principal owner of Stepahnie Knopp Designs in Philadelphia. She is also a professor of Graphic Design at the Tyler School of Art at Temple University, Philadelphia.

Knopp's recent exhibitions include: Art for Artist's Sake, Philadelphia Volunteer Lawyers for the Arts, Philadelphia (2000); University and College Designers, Minneapolis, MN (1995); Art Directors Club of Philadelphia (1994); Union of Artists and Writers of Cuba, Havana, Cuba (1988); and 11th Annual Poster Biennale, Warsaw, Poland (1986), among other venues. Knopp describes Menagerie, her photographic series of miniature golf courses on view at the PAA:

Komar & Melamid’s American Dreams

Jan 16, 2001 to Mar 11, 2001

Timed to coincide with the Presidents Birthday celebrations during the month of February, Russian émigré artists Vitaly Komar and Alexander Melamid have "curated" an exhibition exploring the cult of personality surrounding George Washington, the collaborator's "adopted father."

As recent American citizens, Russian emigré artists Komar & Melamid present their own collection of over 200 engravings, souvenirs, postcards, children's books, and illustrations of George Washington along with eight large allegorical paintings and one large silkscreen inspired by objects in the collection. The paintings draw parallels between the depiction of Washington and Vladimir Lenin, another revolutionary hero, political leader, and "founding father." Komar & Melamid invent witty pastiches of these iconographic similarities as well as that of a third revolutionary figure, the early 20th century avant-garde French artist Marcel Duchamp. Komar & Melamid conceived of and produced the stage sets for an opera, Naked Revolution, in which-- in the dream of a Russian immigrant taxi driver--Washington, Lenin, and Duchamp debate the nature of revolution and which of the three revolutions is superior. A videotape of Naked Revolution (performed at The Kitchen in New York City in 1998) and forty of the studies for the stage sets are also included in the exhibition.

Vitaly Komar (b. 1943) and Alexander Melamid (b. 1945) began their collaborative endeavors while students at Moscow's Stroganov Institute of Art and Design, in the mid-1960s. After graduation, they joined the Youth Section of the Moscow Union of Artists, but were expelled from it in 1973, for what was considered their distorted representation of Soviet reality and their art's deviation from the principles of Socialist Realism. Viewing American overproduction of consumer goods as the equivalent to Soviet Russia's overproduction of ideology, they had initiated Sots Art (Sots being an abbreviation of "socialist," while "art" was taken from Pop Art). Like Pop Art, Sots Art employed parody, irony, and appropriation to acknowledge and critique the national hegemony. During the late 1960s and early 1970s, they became recognized as leading nonconformist/unofficial artists. Komar & Melamid came to the attention of the American art dealer Ronald Feldman, who first exhibited their work in his New York gallery in 1976. The artists moved to New York two years later and continue to live in New York. They became naturalized U.S. citizens in 1988. A portion of Komar & Melamid's American Dreams series was displayed at the Ronald Feldman Gallery in New York during the fall of 1997.

Drawings by Julie Bokat

Sep 9, 2000 to Nov 1, 2000

Although Julie Bokat is known for her works in oil, she will present some of her most recent drawings in beeswax and charcoal. Resembling the microscopic interior of an unspecified organic form, the delicate contours of her drawings appear suspended by carefully applied layers of beeswax.

1999 Pew Fellows Kevin Kautenburger and Nicholas Kripal were invited to respond to the Philadelphia Art Alliance's first-floor galleries in siting their most current work made during their Fellowships. Both artists are sacred, in Kripal's case, and domestic in Kautenburger's-and have created new installations for this joint exhibition that play off the interior architectural features of the Art Alliance Galleries.

Kevin Kautenburger's speciality is sculpture that closely resembles custom-made furniture and furnishings. His designs draw inspiration from the quiet elegance of Shaker design as well as from the studied simplicity and meditative quality of Asian domestic interiors. Kautenburger draws from both eastern and western domestic traditions in creating "an installation for the daydreamer" in a gallery space that was originally used as a formal reception room next to the main entrance by the owners of the Wetherill Mansion, now the Philadelphia Art Alliance building. His goal is for the installation to "almost recede into the architecture of the room."

The dominant work establishing the ambience of Kautenburger's installation is Pollen Shutters, mounted on the interior of the gallery's two pairs of windows. Pollen (a trademark material for Kautenburger) collected from the artist's own beehives is encased between glass and mirror slats in wooden frames. The slats face upward, simultaneously emitting natural light on to the gallery floor and reflecting the dimensions and decorative molding of the ceiling. The operable shutters disperse "pollenized light" through the space of the room. "It is my hope that the dusting of pollen together with the reflection of light will emit a soft glow throughout this room," Kautenburger says. "This should be a room heightened with sensations in which to simply sit."

Kautenburger treats the room as an artist's study. He situates Amber Rocker, a functional sculpture emulating an adult-size rocking chair but cast in golden amber-colored resin, in one corner of the room. In Side Table/Cricket Box a diminutive, red cedar box with a flip up lid rests against a second wooden panel framing an oval mirror coated in resin. The box resembles the face of an acoustic guitar, with a small, screened circular opening, and contains common house crickets. Another piece inviting literal and metaphorical reflection is Dry Basin , a sculpture made of poplar, mirrors, pollen, and beeswax, placed in a corner opposite Amber Rocker. We are invited to look down in to the waist-high "basin" to gaze at our pollen- speckled reflection. A final object of contemplation, Semé/Ant Colony --an ant colony in the form of a Chinese scholar's table-top ornament (and filled with sand)--appears on the fireplace mantle.

The impulse uniting Kautenburger's new work stems from his notion of the artist as a daydreamer. The artist's "nonproductive" studio activity is gauged by the slow passage of time-marked by the activity of the any colony, the crickets' intermittent singing, and the natural light moving across the room--as well as the fugitive quality of the materials used (pollen, resin, mirrors, glass, sand, ants, crickets). This ruse of the daydreamer's studio-the installation as an imaginary room for meditation and contemplation--is belied by the meticulous craftsmanship of the furniture-like sculpture and the deliberately meditative function of each object in the room. Kautenburger asks visitors to daydream, if only for a moment, and to draw their own conclusions from the sensations experienced in his installation/environment.

Nicholas Kripal casts in concrete the interior volume of the Renaissance church Santo Spirito (designed in 1534 by Brunelleschi), but on a miniaturized scale, eighteen times.  He began with an architectural drawing of the Florentine church and built a model from the drawing’s specifications.  He then used the model to make a mold for the concrete casts.

In Santo Spirito 3 x 6, Kripal literally “makes concrete” the ethereal volume of a sacred space. By reducing the scale so drastically, though, and by casting the same form 18 times, and then configuring six groups of three elements in a fractal formation on a low platform, Kripal invites us to speculate on the effects his transformations have on the meaning and manifestation of spirituality in the physical realm. Kripal will also display Ghost, a cast-concrete piece suspended from the ceiling, and a digital blueprint, Insterstial Plan, which synthesizes the positive volume of Santo Spirito and the negative volume of Ghost.

Kripal is professor of art at the Tyler School of Art, Temple University. He received an M.S. in Arts Education at the University of Nebraska at Kearney and an MFA in ceramics from Southern Illinois University. In addition to the Pew Fellowship, Kripal’s  most notable awards include: The Pennsylvania Council for the Arts Visual Arts Fellowship in 1992, 1997, and 1987; the Pollock-Krasner Foundation Grant; a residency at La Napoule Art Foundation, La Napoule, France; the Michigan Council for the Arts Creative Artists Program Grant; and a residency at Art Park, Lewistown, NY.

Curated by Amy Ingrid Schlegel, curator, Philadelphia Art Alliance.


Sep 9, 2000 to Nov 1, 2000

This is an exhibition of "lucid pictures" curated by Amy Ingrid Schlegel. The five artists included in Pictura Lucida -- Diane Burko, Meg Saligman, Anda Dubinskis, Charlotte A. Schatz, and Linda Stojak -- represent the Established Artist Recipients of The Leeway Foundation's Grants in Painting for the year 2000. Three meanings of the word "lucid" connect the disparate practices of these five painters. Clarity and intelligibility of form aids viewers' comprehension. "Lucida," meaning "light," as a painter's tool, helps define form. And luminosity--the character of radiant light­acts as a representational device and pictorial quality.

The invented term "pictura lucida" is taken from a pre-photographic drawing instrument known as the camera lucida, a cousin to the camera obscura and a forerunner of the slide projector. The camera lucida aided artists in drawing an object or a landscape too vast for the eye to encompass at once without moving the head. The artist looked through a small, split lens so that, on one half, natural light reflected off an angled mirror on to a drawing surface below, and on the other half, the distant object was magnified. Pictura Lucida also consciously recalls French theoretician Roland Barthes's 1980 classic book Camera Lucida, in which he metaphorically invokes the instrument's ability to "shed light" on the subject of photography by tracing reflections. Pictura Lucida is employed here in a similar, overarching manner.

The paintings in this exhibition use various strategies of drawing that relate to the function of the camera lucida. Both Diane Burko and Meg Saligman compose with the aid of a slide projector in tracing the outlines of forms in order to achieve accuracy in perspective and scale across a large surface. This practice underscores the importance of reflected light and drawing as well as of photographic sources in the production of their paintings. Legible, schematically-rendered figures in the work of Anda Dubinskis and Linda Stojak demonstrate the importance of drawing and heavy line to these artists in a manner different from Burko's and Saligman's use of line as underdrawing. Dubinskis's and Stojak's figurative compositions elicit intrigue precisely because their forms are legible yet their implicitly narrative meaning remains enigmatic. As for light as a pictorial quality, Charlotte A. Schatz's expressionist industrial landscapes feature clearly defined, geometric forms and a tonality that appears infused with a personalized, non-naturalistic luminosity. And Burko's sublime landscapes of volcanic eruptions come as close as one can imagine to the pictorial representation of fiery, incandescent light.

Pictura Lucida marks the third occasion that the Philadelphia Art Alliance has hosted The Leeway Foundation's awardees in the visual arts. Since its founding in 1993, The Leeway Foundation has awarded grants to living women artists over the age of 20 who reside in the Philadelphia five-county area. In addition to the five artists honored in Pictura Lucida, works by seven painters who are recipients of the Emerging Artist awards are on view during the month of October at Nexus Gallery, Philadelphia.

A panel of jurors appointed by The Leeway Foundation selected the five artists in Pictura Lucida. Those jurors were: Maria Dominguez, a painter living in New York City; Kathryn Kanjo, director of ArtPace, a Foundation for Contemporary Art in San Antonio, TX; Sara Becker, Libby Harwitz, and Charlene Longnecker, both trustees of The Leeway Foundation; and Linda Lee Alter, president of the Foundation. Philadelphia Art Alliance curator Amy Ingrid Schlegel selected the works on view and devised the exhibition concept and installation. Curatorial assistant Melissa Caldwell ably assisted in the production of this brochure, the wall labels, and press release. June O'Neill, executive director, and River Trappler, program coordinator, of The Leeway Foundation were enormously helpful in facilitating the relay of information and other logistical details. Founder Linda Lee Alter, as always, was a committed and enthusiastic supporter of the Foundation's awardees and of the Art Alliance. Finally, Joan Wetmore, former director of Nexus Gallery, was a congenial collaborator. The Philadelphia Art Alliance also wishes to gratefully acknowledge the assistance of Stephen Haller, founding director of the Stephen Haller Gallery, New York, and cooperation of Sueyen Locks, director of Locks Gallery, Philadelphia.

Diane Burko presents new work from a series on Hawaii's Kilauea volcano. These panoramic views of volcanic eruptions signal a departure from the naturalistic landscape painting for which she is well known. Burko asserts that "the representation of the volcano has enabled me . . . to explore an unknown palette. I have backed my naturalism into a conversation with abstraction." The intense, luminescent quality of this palette of unadulterated reds, oranges, yellows, and whites compliments her effort to convey the vastness and power of nature ­ and her accompanying sense of awe. Burko's newest work evinces a contemporary incarnation of the Sublime tradition in landscape painting.

"The world's landscape has stimulated, challenged, and inspired me for over thirty years," Burko explains. "How the scale of the painting transforms discrete visual experiences into a image that becomes greater than any of its parts has been a constant preoccupation of mine. My current series concerns the volcano in all its manifestations. I'm interested in capturing molten lava flows, eruptions of fire and ash, as well as the pyroclastic deposits of magma, cinders, and pumice fragments that accumulate around the craters and calderas of dormant volcanoes. In 1998, I began visiting volcanoes in Costa Rica and Alaska. I am now focused on the activity of Hawaii's Kilauea volcano. After exploring it, I plan to journey to Iceland, southern Italy, and New Zealand."

Burko received her MFA from the University of Pennsylvania and is a full professor at the Community College of Philadelphia. She is the recipient of the Bessie Berman Grant as well as several other awards, including: The Bellagio Study and Conference Center Residency from the Rockefeller Foundation; the National Endowment for the Arts Visual Artist Fellowship; and The Lila Acheson Wallace Foundation Residency in Giverny, France. Most recently, the Redevelopment Authority of Philadelphia awarded Burko its One Percent Public Art Commission Award to produce a 360-degree mural cycle entitled Wissahickon Reflections at the Marriott Hotel, Philadelphia. Burko is represented by Locks Gallery, Philadelphia.

A muralist whose work can be seen in various locations throughout Philadelphia and other cities, Meg Saligman often treats contemporary people from a specific community as allegorical figures in her complex, collage-like compositions. She is currently completing a mural entitled Once In a Millennium Moon in Shrevesport, Louisiana. The murals' digital design is being shown for the first time along with photographs of the installation in progress. "At 25,000 square feet," the artist explains, "this painting will be the largest publicly funded mural in the country. The design is a gigantic Shrevesport celebration of life cycles. Everything seen in the mural is from the physical or psychological worlds of this northern Louisiana community. All the figures seen are actual citizens of Shrevesport ranging in age from three months to eighty-six years. (They will appear 20 to 100 feet in height.) Water flows through the design, as it does the city. It spills into urns decorated with the carvings from local cemeteries. The water then pours onto a baby symbolizing the cycle of death and birth . . . Natural elements are a huge design element because they are so important in the daily life and cycles of the city." Once in a Millennium Moon is administered and sponsored by the Shrevesport Regional Arts Council. It is part the initiative Artists Create for the Millennium, sponsored by The National Endowment for the Arts and the Mid-Atlantic Arts Foundation.

Also featured in the exhibition are a CD-rom on the making of Philadelphia Muses, located at 13th and Locust Streets, and slide projections documenting the creative and production processes of Common Threads, located at Broad and Spring Garden Streets.

After receiving her bachelor's degree from Washington University in St. Louis, Saligman moved to Philadelphia where she began painting murals for the Anti-Graffiti Network, now the Mural Arts Program at the City's Department of Parks and Recreation, with which she is still involved. She has been honored with several prestigious awards, including: The Leeway Grant for Excellence; The National Endowment for the Arts in 1995, 1996, and 1999; and the Pew Charitable Trusts in 1993.
Anda Dubinkis's multi-paneled compositions (which are inspired by early Renaissance altars) juxtapose, and sometimes overlay, figure and plant studies. Parallels are implicitly suggested between the two, both of which are drawn from life, and often at the same scale. The ambiguous narratives and dissonant color schemes seem to conceptualize both individual psychological states of mind and broader social interactions. Dubinskis states that: "My paintings involve a narrative, often juxtaposing several images. Recently, I have become more involved in evoking a psychological state. Various plant forms are interspersed with the figures. These weeds can be perceived as insidious invaders, but they also serve as a metaphor for tenacity and perseverance."

Anda Dubinskis received her bachelor's degree from Cooper Union in New York City and her master's degree from the University of Pennsylvania. She is currently an adjunct professor at Beaver College and has taught at Moore College of Art and Design, the Tyler School of Art (Temple University), and Kutztown University. Dubinskis has received the Leeway Grant for Achievement, and other notable awards, including: The National Endowment for the Arts Visual Artist Fellowship in 1990 and 1992; the Pennsylvania Council on the Arts Fellowship in 1995 and 1998; and the MacDowell Colony Fellowship in 1987.

Charlotte A. Schatz depicts abandoned industrial buildings in urban surroundings, but not in a documentary way. Inspired by French Fauvism, Russian Constructivism, and American Precisionism, Schatz focuses on the formal and geometric configurations of a specific industrial site, transforming the space into an expressionist landscape through her manipulation of color and composition. She presents a selection of paintings from this body of work completed during the last two years. Schatz states: "This body of work reflects my formal, aesthetic, and social concerns. Since 1996, I've been involved in an investigation of abandoned buildings in our urban environment; remnants of industrialism in North Philadelphia, Bethlehem, Pennsylvania, and Portland, Oregon. My aim is to provoke a reaction to the geometry of these beautiful, empty buildings, sans people, in a seemingly unreal space using subjectively chosen color. I use a fauvist palette to refer back to the early times when these structures were new and glorious, full of life and industry."

Schatz received her bachelor's degree from the Tyler School of Art, Temple University, and has since pursued graduate studies at Tyler, Skidmore College, Alliance Française, and Drexel University. In 1998 she retired as professor of fine arts at Bucks County Community College, Newtown, PA. Schatz has received the Leeway Award for Achievement.

Linda Stojak's quasi-representational paintings are characterized by androgynous figures enigmatically suspended in voids of saturated color. Her spare compositions may represent a liminal state, in which her figures seem poised on the threshold of action yet remain immobile, perhaps representing a condition of emotional paralysis. Stojak builds her painterly surfaces and schematically delineated forms, until recently, solely with a palette knife on canvases covered with a grid of paper; she now also occasionally uses very fine brushes. Stojak's work has both autobiographical and literary ties; in particular, to her Polish-Catholic upbringing, her father's recent death, and the adoption of a Chinese toddler, as well as to the angst-ridden poetry of Rainer Maria Rilke, all of which weigh heavily in the palpable emotional undercurrent of her recent work.

Stojak states: "In painting I examine my own life. Through the specifics of my life, I hope to describe something about the nature of everyone's life. These paintings are about being born, separation, touching, breathing, dying, loss, time, silence, waiting. I want to be concise stylistically, to keep images simple, suggestively spare and repetitive. I emphasize their emotional complexity through the painting process itself. For instance, I might convey an underlying tension by combining a static, restrained image with a layered, expressive surface. I want to describe and evoke the anxiety that inevitably exists in living."

Stojak holds a MFA from the Pratt Institute of Art and Design in New York and was awarded the prestigious John Simon Guggenheim Fellowship in Painting in 1996. She has now received the Leeway Grant for Achievement. Stojak is represented by the Stephen Haller Gallery, New York.

Paul Matthews: Friends and Relations

Nov 11, 2000 to Jan 7, 2001

Most artists begin their training by drawing and painting from a live model. Painters Paul Matthews and Alex Kanevsky move beyond the foundations of portrait painting -- how does light and shadow effect the painter's perception of objects and choice of color? - each from his own perfectionist's stand-point. While Matthews's and Kanevsky's approaches to portraiture are superficially similar, their end results offer an instructive study in contrasts.

While Kanevsky invites ambiguity into his small-scale compositions by basing them on digital photographs, sometimes of the subject in motion, and by deliberately using imperfect lighting conditions, Matthews, who also begins with a photographic source, delights in representing the human form with cool, even lighting and excruciating detail.

Kanevsky presents a body of new work he calls "overwhelmed portraiture" - each one by one foot in scale of people he has encountered during the summer of 2000. He describes the project as follows: "Doing multiple portraits in a relatively short period of time will derail a natural tendency to try to bring every painting to a good end. I will have to deal with a mounting number of unresolved conflicts. Hopefully, some will be spectacular failures. An unpredictable and exciting journey."

Matthews has executed many commissioned portraits over the years, though he prefers to do uncommissioned portraits of family and friends. The dilemma of portrait painting for him is "an unreasonable desire to capture the actual person on canvas" -- and the impossibility of actually doing so. "Some fusion of the artist's and sitter's personality comes through in the attempt, though; something that never existed before," the artist states. Matthews admits that his tendency is "always toward exaggeration and caricature... my true delight is to mimic, to mock, to imitate. So when I try for a likeness I miss; but when I go for the jugular it comes naturally."

Kanevsky, who is originally from Russia, attended the Pennsylvania Academy of the Fine Arts and was a 1997 Pew Fellowship recipient. Matthews, who lives in Lambertville, NJ, and Keene, NY, has exhibited at the National Academy of Design in New York and throughout the East Coast for the past 36 years; he is a graduate of Cooper Union in New York.


Part of an international tour, Jewels of Mind and Mentality’s only U.S. venue is at the Philadelphia Art Alliance. A total of 384 pieces of art for the body by 24 Dutch artists will be displayed in the Main (second-floor) Galleries and the Third Floor Gallery from November 11, 2000 through January 7, 2001.

An illustrated, color catalogue published by Museum Het Kruithuis is available for $35 at the Philadelphia Art Alliance.

Jewels of Mind and Mentality has been organized by Museum Het Kruithuis, a contemporary art museum in s’-Hertogenbosch, The Netherlands. Most of the objects have been acquired for this travelling exhibition as well as for its permanent collection.

Jewels of Mind and Mentality contextualizes the work of leading Dutch jewelry designers within the larger scope of international art movements such as Russian Constructivism, Pop Art and Body Art. These movements prompted Dutch artists to distance themselves from traditional "precious decoration" jewelry.

The earliest shift away from the model of artisan-as-goldsmith began in the early 1950s in the work of Esther Stuart-Hudig, Chris Steenbergen, and Archibald Dumbar. Their interests in form and concept rather than technical mastery were rooted in current Constructivist theory, in particular that of Russian sculptors Anton Pevsner and Naum Gabo, who emphasized the spatial relationships of their organic forms, which were made from new, synthetically produced materials such as plastic and Plexiglas.

A second generation of pioneering artists, later termed the "Dutch Smooth" group, extended these concepts by treating jewelry as something that could be produced serially. Common industrial materials such as aluminum and rubber were redefined to emphasize certain parts of the body. Hans Appenzeller, Gijs Bakker, and Emmy van Leersum’s "impersonal," serialized treatment of the ornament broke decisively with the notion of jewelry as a unique and precious object. The formal elements of design -- the most important components for the previous generation -- were pushed further and combined with the Dutch Smooth’s interest in conceptual framework.

During the 1970s American artists Vito Acconci and Bruce Nauman were influential figures for Dutch jewelry designers. Acconci’s and Nauman’s "body art" videotaped performances, in which they manipulated their own bodies for the camera, underscored the message that, for Dutch designers, the body was inseparable from the meaning of the object designed for it. Artists like Philip Sajet, Herman Hermsen, and Dinie Besems created jewelry that was meant to act upon the body rather than to have the body act a structural support for the object. The work was to be an "envelope" for the active viewer, who transformed his/her body into an image by inserting it into the space encompassed by the work of art. At the same time, taking their cue from Pop Art and its embrace of mass culture, Dutch designers began incorporating Readymade (found) objects and everyday materials into their work. Maria Hees, for example, used hairbrushes and other functional objects to create brooches.

Reaction against the influential "Dutch Smooth" group came in 1980s when a sculptural approach to one-of-a-kind works became the predominant mode of working. Artists such as Onno Boekhoudt, Ruudt Peters, Marion Herbst, and LAM de Wolf emphasized the need for one-of-a-kind objects that expressed the artist’s sensibility. This renewed emphasis on originality was accompanied by an interest in experimenting with an unorthodox treatment of materials. LAM de Wolf, for instance, draped a series of painted silk chains over the wearer’s back. Innovation became the criteria for a new generation of artists.

Newell describes his toned gelatin silver prints as "an exploration of the consubstantiality of organic objects." His photographs evoke a sense of pattern and abstraction in commonplace and objects found in nature. Newell is a selftrained photographer who resides in Prospect Park, PA and teaches at Delaware Community College. Newell is an Artist Member of the Art Alliance.

The Art Alliance presents the pioneering, award-winning Transfer and Recycling Center of Phoenix, Arizona (19891993), a project designed and led by artists Michael Singer and Linnea Glatt. Herbert Muschamp of The New York Times called the "vaguely Mayan" architectural design "an operating theater for environmental therapy." These photographs document a radical alternative to conventional public art commissions and offer a new vision of how artists can rethink the planning and design process for recycling facilities and recycling in other industries.

John Willis presents part of a continuing series of "found still life photographs" entitled Recycled Realities. These toned and bleached gelatin silver prints were photographed at a paper recycling mill in northern Massachusetts, near the artist's home in southern Vermont. John Willis is professor of photography at Marlboro College in Marlboro, Vermont.

The Philadelphia Art Alliance is pleased to present the recent work of three Philadelphia area artists -- Sandra Camomile, Gabrielle Kanter, and Margo Schriber - that expands generally accepted notions of what "sculpture" is. Each artist has a distinctive approach to materials, metaphor, and meaning that compliment one another. The subjects addressed by Camomile's, Kanter's, and Schriber's work range from the (female) body to domesticity to the creative process itself, while their intradisciplinary approach to art making involves the merging of: sculpture and performance; sculpture and drawing; ceramics, sculpture, and installation; and video and performance.

Nancy Sophy: Works on Paper

Mar 27, 2000 to May 7, 2000

the intangible, tangible and the unrecordable, recordable."

Laura Yang: Oils On Paper

Mar 27, 2000 to May 7, 2000

Yang brings her skills as colorist to her large abstract paintings, retaining their sense of pure detachment by identifing them through Roman Numerals. Her works also allude to the poet LiPo, who lived in Tang Dynasty China (A.D. 701-762). In manner similiar to LiPo, Yang describes her paintings as "ethereal in spirit, yet grounded in the everyday experience we all share."

Maritza Ranero: Recent Painting

Mar 27, 2000 to May 7, 2000

real/feigned experience as viewed through the aqueous humor of my imagination."

Presented in conjunction with The Andy Warhol Museum, Pittsburgh, PA, and PrideFest America, Philadelphia, PA. The exhibition is a survey of screenprints and lithographs by Andy Warhol produced between 1964 and 1987.

Fin de Siecle: Philadelphia 2000

Jun 28, 2000 to Sep 3, 2000

This exhibition plays upon the notion of "fin de siècle": the mood characterizing the transition from one century to another. Contemporary images of the City of Philadelphia are presented together with postcards of Philadelphia landmark buildings made between 1904 and 1914. Recent photographs by Philadelphia-based artists Linda Adlestein, Vincent David Feldman, and Ron Tarver all use techniques or employ effects characteristic of the late19th- and early-20th centuries. In their evocations of the past, these photographers also chronicle our transition into the 21st century, while the postcards are benchmarks of the City's appearance nearly a century ago.

If there is a muse informing the premise of this exhibition, then it is French photographer Eugène Atget (1857-1927). From 1898 until his death, Atget charted the dramatic urban transformations then taking place in Paris. He captured poignant, tell-tale signs of the city's changing face -- its outdoor cafés, public parks, old trees, narrow, historic streets, working-class homes, and outmoded factories -- in a manner that was simultaneously documentary, sentimental, and cautionary. Atget recorded his photographic inventory of "old Paris" during the last phase of Baron Georges Hausmann's plan of radically redesigning the Parisian cityscape.

Because he photographed early in the morning, a quiet, mournful ambience pervades Atget's people-less photographs. Ron Tarver aims to capture something similar - what he describes as "the soul of the city" - but by working at night. In contrast to Tarver's soft-focus, poetic black-and-white images, Vincent David Feldman artfully documents, in crisp detail, civic buildings in decline, twice removed from their original function, as well as ones that have been razed since the photograph was taken; Feldman soberly updates Atget's project in a different context. Linda Adlestein's hand-painted, layered photographs share the romance of Atget's vision, though thankfully the Philadelphia landmarks on which she focuses are not endangered.

From the collection of Harvey Elfenstein, the images represented in these early postcards of Philadelphia are reminders of the City's grandeur and bustle before World War I and offer historic parallels to the "new Paris" with which Atget was confronted.

Linda Adlestein manipulates her large-scale photographs to suggest a Romantic sensibility and a fascination with ruins. She superimposes two negatives -- one of a Philadelphia architecutral landmark, the other typically of a wall or some other textured surfaceóand turns the orientation of the latter, rendering it a ghost-like presence. She prints the layered photograph with sepia, commonly used by photographers at the turn of the 20th century. She then hand-tints the final image with a muted palette of colors, alluding eloquently to the process of decay and the passage of time. Adlestein's images in this exhibition include: Memorial Hall; Pennsylvania Academy of the Fine Arts; Winter, Rittenhouse Square; and City Hall. Adlestein's photographs are courtesy Schmidt/Dean Gallery, Philadelphia.

Adlestein's work has been exhibited in Kyoto, Paris, Florence, and thoughout the East Coast. Her portfolio "Italia" was published in Spiral Magazine and was aired on cable television in New York. She has received several grants such as the La Napoule Art Foundation Artists' Residency Program Grant and a Pennsylvania Council on the Arts Fellowship.

Vincent David Feldman uses a view camera to photograph late 19th- and early 20th-century landmark buildings and other civic sites that have fallen from grace. The view camera allows him to photograph an entire facade while also capturing minute architectural details, graffiti, and other signs of distress and retrofitting. Sometimes Feldman focuses on only a part of a building's façade, other times he includes more of the contemporary context and in doing so suggests the lost glory of these sites, which are, for him, more animated once they have been abandoned. Feldman's photographs are courtesy of the artist.

Feldman received his MFA in 1997 from Tyler University and is currently an adjunct professor of photography and Drexel University. He has also taught photography at Bucks County Community College and Tyler University. In 1999, Feldman won first prize at the City Paper Photography Competition and has had several solo exhibitions, most recently at Nihonbashi in Tokyo and at the Paley Design Center at Philadelphia University.

Ron Tarver's approach to photography consciously recalls the soft-focus aesthetic of the Photo Secessionists, artists active in the early decades of the 20th century who argued for photography's status as a fine art medium. Tarver photographs all manners of buildings, but for this exhibition he presents several recent images of off-the-beaten-track working- and middle-class dwellings that are both typical and atypical of Philadelphia. He develops his often deliberately blurry prints with coffee to achieve a patina effect. Tarver's works are courtesy of the artist and the Sande Webster Gallery, Philadelphia.

Tarver is a staff photographer at The Philadelphia Inquirer and is the founder and director of PhotoSession, an annual photography conference in Philadelphia. Recent solo exhibitions include: Eastern State College; the Philadelphia Art Alliance; the Samuel S. Fleisher Memorial; and Beaver College. Tarver has been awarded the National Newspaper Magazine Society Award and the National Press Photographers Association Award, among several other honors.

Judith Barbour Osbourne: Chosen Silence

Feb 8, 2000 to Mar 19, 2000

The Art Alliance has extended the Rittenhouse Satellite Gallery exhibition of scroll and works on paper by Judith Barbour Osborne. Inspired by poets such as Jelaluddin Rumi and Wallace Stevens, Osbourne has described her work as "...visual traces of non-visual realities, such as temporal, emotional and spatial relationships."

René J. Marquez: Mga Askal (Native Bred)

Feb 8, 2000 to Mar 19, 2000

disrupt[s] both the delicacy and authority of 'historical artifact'."

Daniel Heyman: Recent Work

Feb 8, 2000 to Mar 19, 2000

Characterizations of Daniel Heyman's work have ranged from whimsical to intellectual to tragic. His gouaches on paper recall familiar motifs and formal styles from art history, yet the actual subject matter seems to allude to recent local and national events.

The Art Alliance is honored to present LeClair's most recent work in oil and watercolor.

You Can’t Go Home Again: The Art of Exile

Feb 8, 2000 to Mar 19, 2000

This exhibition presents six artists whose work is informed by their choice or compulsion to immigrate to the United States. Included in the exhibition are: Ilya Kabakov; Wlodzimierz Ksaizek; Dinh Q. Lê; Tanja Softic´; Irene Sosa; Ana Tiscornia. Curated by Amy Ingrid Schlegel.

Morgan Craig is moved by the now abandoned architectural surroundings of the late nineteenth and earl twentieth centuries. Craig finds a sense of austerity, beauty, and remembrance to the structures and spaces created for specific purposes, paying homage to that which has been abandoned or forgotten.

Rail stations, buildings and factories from an age of manufacturing and industry are instilled with a sense of beauty and peacefulness. As Craig states “I use perspective and color to portray these hall of melancholy as sanctuaries of light, renewal, and the forgotten.”

Craig received a M.F.A. in painting from the University of the Arts, Philadelphia. He has had solo exhibitions at: University of Wisconsin, Madison, WI (2006); Artworks Gallery, Cincinnati, OH (2006); Big Idea Gallery, Jim Thorpe, PA (2006); Penn State University, Altoona Campus, Altoona, PA (2005); and Redux Contemporary Art Center, Charleston, SC (2005). Recent group exhibitions include: Bettcher Gallery, Miami, FL (2005 and 2006); Delaware Center for the Contemporary Arts (2006); South Bend Museum of Art, South Bend, IN (2006); Lawrence Asher Gallery, Los Angeles, CA (2006); Seraphin Gallery, Philadelphia (2005); Florida State University (2005); Museum of Fine Arts, Tallahassee, FL (2005); Hartford Art Association, Havre de Grace, MD (2005); 1000 Walls Gallery, Chicago, IL (2005); University of the Arts, Philadelphia, PA (2005) Vox Populi, Philadelphia, PA (2005); OK Harris, New York , NY (2005) Cambridge Art Association, Cambridge, MA (2005); Murray State University, Murray, KY (2005); Gallery Katz, Boston, MA (2005);  Propeller Centre for the Visual Arts, Toronto, Ontario (2004); Arrot Art Museum, Elmira, NY (2004); Slought Foundation, Philadelphia,  PA (2004); and L.I.P.A. Gallery, Chicago, IL (2004). Craig is also the recipient of a 2006 Pennsylvania Council on the Arts Fellowship Grant.

Jessica Demcsak: Intimate Spaces

Jan 1, 1970 to Jan 1, 1970

Influenced by the concepts of place, structure, and phenomenology first espoused by theorists such as Gaston Bachelard, Jessica Demcask creates paintings of buildings and landscapes on handmade wooden boxes that add a three dimensional element to her work. Part sculpture, part painting, the surface image is a simplified silhouette of a place the artist has visited and documented with photographs.

For Demcsak, the layering of opaque and transparent layers of paint are akin to her memories of that specific place, while the small scale of the wooden objects create a sense of preciousness and nostalgia. As the artist states “Painting in such a devoted way will hopefully reflect the closeness of the viewer’s gaze. The idea that the viewer will share the same space as I did while creating the painting is fascinating. Sharing and experience through an object relates to the idea of memories contained in a space.”

Demcsak received an M.F.A. in Painting from the University of the Arts and an M.A. in Art Education from Kean University, Union, NJ. Recent exhibitions include: Endings and Beginnings,  Rock Paper Scissors Gallery, Asbury Park, NJ (2006); City as Nature,  Afif Gallery, Philadelphia (2006); Food for Thought, Sumei Multidisciplinary Arts Center, Newark, NJ (2005); Urban Life, Esther Klein Gallery, Philadelphia (2005); Local Color, Artspace 129, Montclair, NJ (2005);  “Window on Broad”, Rosenwald-Wolf Galleries, Philadelphia (2005); Maple Street Gallery, New Jersey Center for Visual Arts, Summit, NJ (2005); James Howe Gallery, Kean University, Union, NJ (2005); New American Painting, Open Studio Press Exhibition in Print (2005); Happy Birthday, Nova Fine Art, Clinton, NJ (2003); WIP, Rosenwald-Wolf Galleries, Philadelphia (2003); and International Juried Competition, New Jersey Center for the Visual Arts, Summit, NJ (2002). In 2005, Demcsak was the recipient of a Geraldine R. Dodge Foundation Grant and a Food for Thought Fellowship from the Sumei Multidisciplinary Arts Center.

Originally taken as Polaroids, Christine McMonagle, considers her series Narrative Symmetry as a study of personal relationships told through time.

As a series of diptychs, representing two moments or instances during the photographic process, they are images that hint at a deeper narrative--one that reveals less of the instance reflected in the image but more of the rapport between artist and subject. The instantaneous nature of the Polaroid process allows McMonagle to represent this connection in a method that could be described as impulsive and unfiltered. As the artist states, “More like an open-ended narrative than a clear description, the images are a little out of focus and indefinite. As much a study of myself as the subject, they are my memories and my stories.”

McMonagle received a B.F.A from Tyler School of Art, Temple University, Philadelphia and has studied at the University of Applied Sciences, Bielefeld, Germany and the Campus of Temple University in Rome, Italy. Exhibitions include: Viewpoint, InLiquid at the Painted Bride Art Center, Philadelphia (2005); North of the Border: Art in Northern Liberties 3, Philadelphia (2004); Photoimage 03: CPI Annual Photography Competition, Nexus Foundation for Today’s Art, Philadelphia (2003); and Eleventh Annual Phillips’ Mill Photographic Exhibition, New Hope, PA (2003). McMonagle now works a Freelance Photography Assistant in Philadelphia.

Set Pieces: Photographs by John Lorenzini

Sep 21, 2006 to Dec 31, 2006

Using the simple image of the theater curtain, John Lorenzini’s images are filled with narrative suppositions. Capturing the artifice and dramatic nature of set design, the human presence in these images are inferred by the dramatic lighting and artificial structure of the stage.

This concentration on artificiality combined with the continual absence of the figure reflects Lorenzini’s interest in social interaction on a much broader level.

The artist states, “I consider a stage, or set, less an isolated singular physical space where plays and shows are performed, and photographs taken, and more a metaphorical representation of the abstract stage on which any social interaction may occur. The relationship between visual artificial environments and the more abstract artificiality that exists in social life is what interests me and motivates my work.”

Lorenzini received a B.F.A. from the University of Pennsylvania in 2002 and has studied at the Pennsylvania Academy of the Fine Arts and the University of Georgia Study Abroad Program in Cortona Italy. As a member of the artist collective Vox Populi, Lorenzini has had three solo exhibitions in 2003, 2004 and 2005 as well as three group exhibitions from 2002 to 2004. Selected group exhibitions include: Significant Bodies, The Irene Carlson Gallery of Photography, University of LaVerne, LaVerne, CA (2006); 80th Annual International Competition, The Print Center, Philadelphia (2006); Absence, Flatfile Galleries-Photography, Chicago, IL (2004); Works on Paper, Arcadia University, Glenside, PA (2004); In A Silent Way, Main Line Art Center, Rosemont, PA (2003); Digital Visions, Center for Contemporary Art, Sacramento, CA (2002); National Juried Exhibition, Phoenix Gallery, New York, NY (2002); Contemporary Art II,  Period Gallery, Omaha, NE (2002); and 3 AM, American Cultural Center Gallery, Damascus, Syria.

Out of Frame: Motion art from MOBIUS

Sep 21, 2006 to Dec 31, 2006

MOBIUS is a cross-platform motion media arts project exhibiting the work of the world's best contemporary artists and animators. Language-independent, produced, and mastered in full 1080i high definition video, the project has been in existence since October 2003, when Philadelphia-based Concrete Pictures became the primary supplier of HD motion art programming for Rainbow Media's Voom HD satellite platform. Since its inception the ongoing project has produced over 135 hours of original motion art.

In order to obtain such a large amount of new material MOBIUS created a desktop-based production and post-production facility that houses an in-house creative staff but also reaches out to artists and supplies them with active production and post-production support to create new work. Since the project's inception they have worked with over 100 artists from all over the world to produce the largest collection of motion video art in existence. This exhibition will culling some of the most innovative pieces from this collection representing the work of artists who have used their production facilities.

Freed from the constraints of commercially driven practices in digital video, the works on view challenge the narrative presuppositions and demands of filmmaking, thus creating an alternative Filmic art, digitally based, but conceptually innovative. A variety of production techniques are employed in these selections, exemplifying the range now being employed in this genre. For example, live action footage, as seen in works by Peter Rose, Kara Crombie and Gregory King, is featured alongside two and three-dimensional animations created completely in Macromedia Flash software by such artists as Chad Fahs, Mark Johnson, and Ben Jones.

The works selected represent an alternative to the narrative forms upon which most production and viewer relationships depend. Non-linear narrative forms, also known as non-narrative motion art, thwart the viewer’s expectations of logical progression and storytelling in favor of creating immersive environments and unexpected visual configurations through the element of time.

For the exhibition at the Philadelphia Art Alliance, monitor stations combine several pieces and will be combined with large-scale projections featuring single works. The artists selected for this exhibition include: Nell Breyer and Jonathan Bachrach, Esther Bell, Sarah J. Christman, Pablo Colapinto, Kara Crombie, Wade Echer and Chad Fahs, Andy Hann, Colin James, Mark Johnston, Ben Jones, Valerie Keller, Justin Leavens, Peter Rose, Shirley Sarker, Bonnie Scott, Rob Shaw, and Paul Westergard.

The Philadelphia Art Alliance is pleased to announce The Way of Chopsticks, a transformative, site-specific installation by Song Dong and Yin Xiuzhen exploring generational and cultural shifts in contemporary China, on view September 12-December 29, 2013.


Sabrina Gschwandtner: Sunshine and Shadow

May 17, 2013 to Aug 18, 2013

Sunshine and Shadow is the first solo exhibition of Sabrina Gschwandtner’s film quilts in Pennsylvania. The exhibition features six quilts constructed from 16 mm film. The works are displayed in framed light boxes, engaging the notion of filmic suture through a reconfigured, backlit form. The show is based on "Sunshine and Shadow" quilts, which take their name from a concentric diamond pattern created by squares of color in dramatically intertwined light and dark hues. There are compelling connections between this body of work and Philadelphia’s status as a global center of textile production until the general decline of US manufacturing that began in the 1960s, as well as Pennsylvania’s rich heritage of quilt-making by Amish and Mennonite women.


Emily Spivack: Sentimental Value

May 17, 2013 to Aug 23, 2013

Emily Spivack's web-based art project Sentimental Value connects the age-old desire to tell stories through special objects with the easily accessible platform of the Internet. Spivack has recognized a new vernacular mode of expression emerging in the personal narratives accompanying clothing for sale on eBay, which has unintentionally become a repository of surprisingly personal anecdotes and memories. Spivack has been collecting and documenting these stories in all their raw honesty on the Sentimental Value website (, and acquiring the objects in the process. This exhibition is the first installation of Sentimental Value in its corporeal form, presenting original source objects alongside the original, unedited text from the listings Spivack found on eBay. A short video narrated by Spivack highlights additional unedited anecdotes along with their corresponding eBay photographs.


Carol McHarg: Design Against Nature

May 17, 2007 to Aug 23, 2007

Satellite Gallery
The Rittenhouse Hotel, 210 W. Rittenhouse Square, 3rd Floor

Employing her background as a landscape architect, Carol McHarg engages the subjects of geology, cartography, and land development as well the subject of landscape in the history of art on equal terms. McHarg asks the viewer to question the impact of engineering and design on the environment, while questioning the accepted formal conventions of landscape painting established in 19th century Romanticism.

From an exaggeration of perspective to the denial of perspective itself--combined with flattened symbolic elements derived from cartography--McHarg alters the landscape to become a material manifestation of the relations between humans and their environments, and a product of the dialectic of biophysical environments and culture.

McHarg received a M.A. in Landscape Architecture from the University of Pennsylvania and attended the Studio for Advanced Studies from the Pennsylvania Academy of the Fine Arts, Philadelphia. McHarg also studied painting under the artist Osvaldo Romberg from 1998 to 2001. Recent selected exhibitions include: Portraits, Finalist in Juried Online Exhibition (2007); Digitations, ARTROM Gallery, Rome, Italy (2006); The Post Modern Landscape, Brad Cooper Gallery, Tampa, FL (2006), Just Paint, ARTROM Gallery, Online Exhibition (2006); The National Arts Club, Online Exhibition (2006). Her work has been included at: The Supper Club, Rome, Italy (2004); The White Box, Philadelphia (2002); and the Pennsylvania Academy of the Fine Arts, Philadelphia (1999). McHarg has a studio in Philadelphia and commutes to New York to teach landscape design at Columbia University. Her work is in several collections in Italy and the United States. She is the author of the best selling book Nature’s Design, published by Rodale Press, in which she explains how to design with nature.

Emily Royer: Construction Sites

May 17, 2007 to Aug 23, 2007

Combining simply drawn forms with a sporadic application of gouache, Emily Royer’s work examines what she considers to be the omissions that people make in the perception of self in relationship to the outside world. Literally flattening space and denying traditional uses of perspective, Royer approaches her subjects from multiple points of view, creating interesting juxtapositions between foreground and background and allowing the viewer to meander through the work without a point of emphasis. By providing multiple points of entry to the unfolding narrative, the viewer is made aware of the constructed nature of selfhood and environment, questioning an objective and universal means of perception.

Royer received a BFA in Illustration from the University of the Arts in 2004. Exhibitions include: Works on Paper, Arcadia University, Glenside, PA (2006); New Voices, Rack and Hamper Gallery, New York, NY (2006); Fidem, Sexial, Portugal and Philadelphia (2006); For the Birds/Show Us What You’re Hiding, and Seeing Red, both held at Studio C, Philadelphia (2005); Big Art Show, Brooklyn, NY (2005); Ink Like Gallery, Philadelphia (2005); Morals, Fables and @?# Like That, Koresh School of Dance, Philadelphia (2004); and The Elys: Senior Thesis Show, Hamilton Hall University of the Arts, Philadelphia (2004). Royer has recently taught art at St. Peter’s School and lives and works in Philadelphia.

Jessica Doyle: Intimate Environments

May 17, 2007 to Aug 23, 2007

Mingling fantasy with reality, the collective work of Jessica Doyle is a combination of drawings, paintings, photography, and video that all explore both common and spectacular events in the artist’s own life. Rituals, places, people, dreams, and moments of revelation are recreated—fusing fact and fiction onto delicately drawn images, photographic and video self-portraits, and expressive uses of color seen in both works on paper and paintings. While the photographs and videos seem to evoke the immediacy inherent to the medium, the drawings and paintings often suggest the depiction of an event from a vague and emotionally charge memory—equally honest in their depiction as the images instantaneously captured by camera or video. Whether real or imagined, Doyle’s work expresses an authenticity as well as a vulnerability, providing uncensored access to some of the artist’s most private moments and thoughts.

Doyle received a B.F.A. from Tyler School of Art, Temple University and an M.F.A. in painting from the University of Pennsylvania, Philadelphia. Recent solo exhibitions include: Long Gone Sally (two-person exhibition), Pageant Soloveev, Philadelphia (2006); Being, 40th Street Artist in Residence, Airspace, Philadelphia (2005); and Exist, Project Room, Philadelphia (2003). Doyle has been included in recent group exhibitions at: Ad Hoc Gallery, Brooklyn, NY (2007); Arcadia University Art Gallery, Glenside, PA (2006); Boston Center for the Arts, Boston, MA (2005); ThreeWalls, Chicago, IL (2005); Ice Box Project Space, Philadelphia (2003 and 2005); Fleisher-Ollman Gallery, Philadelphia (2004); 65 Hope Street Gallery, Williamsburg, Brooklyn, NY (2004); Daniel Silverstein Gallery, New York, NY (2003); and Project Room, Philadelphia (2003). Doyle has had film screenings at: Brooklyn Underground Film Festival d.u.m.b.o., Brooklyn, NY (annually from 2002 through 2005); Remote Lounge, New York, NY (2003); and the Project Room, Philadelphia (2003). Doyle lives and works in Philadelphia.

Kip Deeds: Towards a 49th State

May 17, 2007 to Aug 23, 2007

Storytelling in both words and in pictures, the works of Kip Deeds weave a narrative based on continuing themes the artist has been exploring throughout his career. Mingling personal observations and experiences with history—Deeds often utilizes a place or a story entailing a journey as the impetus for an entire series of works. For Towards a 49th State, Deeds makes his final destination the state of Alaska—a journey influenced by an earlier series involving what the artist has termed the Arkadelphia. The Arkadelphia was inspired by a sign he had seen while traveling through Alabama. Appropriating the name, he symbolized the Arkadelphia as an actual an ark, which ultimately served in the pervious series as well as in Towards a 49th State as a metaphor of traveling through history. In his new series, the Arkadelphia makes the voyage to Alaska—a state that has been romanticized throughout history as a place of challenging and heroic journeys in the unspoiled wilderness.

Aesthetically influenced by such artists as Alice Neel, William T. Wiley, Edward Hicks, and Roger Brown, Deeds employs the process of thinking and creating simultaneously, resulting in an image that is layered both physically and metaphorically. Employing prints, collage, graphite, paint, and watercolor, Deeds combines his expertise as a print maker with a more evocative and spontaneous application of additional materials directly to the surface of the final work. This layering allows the artist to generate an alternative vision of a place or an event—one generated by the encounter of history from the artist’s own point of view.

Kip Deeds received a B.F.A. from Tyler School of Art, Temple University and an M.F.A. from the University of Illinois at Urbana-Champaign. Deed has had solo exhibitions at: Next Door Gallery, Leland, MI (2006); Samuel S. Fleisher Art Memorial, Philadelphia (2005); Hunt Gallery, Webster University, St. Louis, MO (2005); Wakeley Gallery, Illinois Wesleyan University, Bloomington, IL (2004); Sykes Gallery, Millersville University, Millersville, PA (2004); Hutchins Gallery, The Lawrenceville School, Lawrenceville, NJ (2003); and The Blue Shirt Project, Birmingham, AL (2001). Among many other group exhibitions, Deeds work has been featured most recently at: The Boston Printmakers North American Print Biennial, Boston University, Boston, MA (2007); International Print Center, New York, NY (2006); Perkins Center for the Arts, Moorestown, NJ (2006); Springfield Art Museum, Springfield, MO (2006); Vox Populi, Philadelphia (2006); Arcadia University, Glenside, PA (2006); Art in City Hall, Philadelphia (2006); Spector Gallery, Philadelphia (2006); Pennsylvania College of Art and Design, Lancaster, PA (2005); The Print Center, Philadelphia (2005); City without Walls, Newark, NJ (2004); and Ben Shahn Gallery, William Patterson University, Wayne, NJ (2004). Deeds teaches Printmaking, Etching, and Lithography and is the Master Printer at Princeton University, Princeton, NJ. He has also taught at Tyler School of Art, Temple University, Philadelphia, Interlochen Center for the Arts, Interlochen, MI, and the University of Pennsylvania, Philadelphia. He has had residencies at Yaddo, Saratoga Springs, NY; Frans Masereel Centre, Kasterlee, Belgium; Vermont Studio Center; Highpoint Center for Printmaking, Minneapolis, MN; Millay Colony for the Arts, Austerlitz, NY; and the Ucross Foundation, Ucross, WY.

Kiff Slemmons Re:Pair and Imperfection

May 17, 2007 to Aug 23, 2007

During 2004 and 2005, metal artist Kiff Slemmons asked 18 of her colleagues to send her fragments of their work that they considered imperfect, broken or no longer usable. In her request letter she emphasized that she did not intend to "fix" the piece but instead to use the fragment as a starting point for an entirely new piece that would be hers but with respect for the ideas and work of the contributing artist. Contributors include: Bettina Dittlman, Sandra Enterline, Thomas Gentile, Lisa Gralnick, Gary Griffin, Daniel Jocz, Esther Knobel, Keith Lewis, Otto Künzli, Bruce Metcalf, Myra Mimlitsch-Gray, Ramona Solberg, June Schwarcz, Joyce Scott, Rachelle Thiewes, Terry Turrell, J. Fred Woell and Joe Wood.

In Slemmons words: “This project resulted from a long term fascination with the irony that, in an art form obsessed with perfection, the imperfect can often be what produces vitality, “ and with each piece, Slemmons had to decide how she could interpret the notion of imperfection. In some cases, she used the fragment intact, in others, she trimmed or reformed it. In two instances she made works based on ideas suggested by the fragment without actually using it. “In addition to my fascination with imperfection, I needed to understand in a more complete way what we mean by originality or collaboration or appropriation. These little broken or incomplete objects pushed me into areas of my imagination that I had never visited. I normally start to work with a clear idea, but this project forced me to begin with incoherence and mystery.”

By the end of the second year Slemmons had created 30 works—pins, necklaces, and rings. The works are displayed in boxes and accompanied by photographs of the original fragments. The boxes were made by Karin Vance and Kim Kopp, and are covered with handmade wild cotton and linen paper made by Arte Papel Oaxaca, a paper atelier near Oaxaca, Mexico, where Slemmons has worked as a visiting artist. A photograph of each fragment in its original form is also on display.

Over the past thirty years, Kiff Slemmons has become known for creating jewelry as rich in concept and meaning as it is varied in form and material. Her work is infused with historical, cultural and literary references. Slemmons has redefined for herself and colleagues the decorative and historical traditions of jewelry, preferring the potential of non-precious materials and the supremacy of concept to produce thought provoking and often humorous pieces.

Slemmons' work has been published regularly in American Craft and Metalsmith magazines, as well as in a number of anthologies of American and European jewelry. Most well known for conceptual work with non-precious materials and found objects, she has recently worked with a local group of artisans in Oaxaca, Mexico, to produce paper jewelry. Slemmons received her BA in Art and French from the University of Iowa in 1968. Her undergraduate studies included a year at the Sorbonne in Paris. Self taught as a metalsmith, she has exhibited nationally and internationally for over 30 years, with nine solo exhibitions, and many group shows. Her work can be found in numerous museum collections, including The Museum of Arts and Design in New York, London's Victoria & Albert Museum, and the Renwick Gallery in Washington, D.C.

The original exhibition was produced by the Chicago Cultural Center and a 64 page illustrated catalog with an essay by Tacey Rosolowski accompanies the exhibition.

Satellite Gallery
The Rittenhouse Hotel, 210 W. Rittenhouse Square, 3rd Floor

Borrowing techiniques and formal concerns expressed both in printmaking and painting, Brenton Good creates architectonic two-dimensional works that recall several modern periods in the history of art.

Geometric systems recall the compositional concerns of Minimalist painting, while more accidental marks that include scratches and drips evoke the immediacy of Abstract Expresssionism. The transparency of each layer of final work reflects the contemplative responses of the artist. As Good states “the finished piece is a documentation of all the steps in the creative process, both organic and controlled. Each layer of color becomes a record of a decision made concerning composition, weight, or rhythm. As a viewer works through passages within the piece, the subtle meditative and devotional nature of each choice made by the artist becomes more apparent. The quiet beauty of a water stain becomes magnified when coupled with a straight line of a flat area of color.”

Good received an M.F.A .and M.A. from the University of Dallas, Irving, TX and has had recent solo exhibitions at the Ft. Worth Community Arts Center, Ft. Worth, TX (2005), 33up, Dallas, TX (2004), and the Zephyr Art Gallery, Pasadena, CA (2004). Other group exhibitions have been held at Cornell University, Ithaca, NY (2005); Zephyr Art Gallery, Pasadena, CA (2005); University of Alaska, Anchorage, AK (2005); Messiah College, Grantham, PA (2004); Bilkent University, Ankora, Turkey (2004); Grayson County College, Denison, TX (2004); Arlington Museum of Art, Arlington, TX (2004); and Instituto San Ludovico, Orvieto, Italy (2000). Good has been an adjunct professor of art history at Messiah College, Grantham, PA and an adjunct instructor in figure drawing at the Pennsylvania College of Art & Design.

Tara O’ Brien: Entelechy

Jan 30, 2007 to May 6, 2007

For Aristotle, the concept of entelechy was effectively the "end within"--the potential of living things to become themselves. In this context, artist Tara O’Brien considers books a living manifestation or testament to a person’s life.

To emphasize their role as physical objects that exist through time, O’Brien plays with the formal structure of the book, either by attending to or thwarting its purpose. In some instance books are crocheted and bound within pages; in other instances they are given anthropomorphic qualities such as hair or skin. O’ Brien states “as living things, books are a metaphor for the structure of life. Each page representing a momentous turning point or event, where we can turn back and see all of the actions that have led us to the event.”

O’Brien received an M.F.A. in book arts/printmaking from the University of Arts, Philadelphia. She has had exhibitions at The Gallery of the Art Institute of Boston (2006); Coburn Gallery, Colorado College. Colorado Springs (2006); Brooklyn Artists Gym, Brooklyn, NY (2006); The Center for Book Arts, New York, NY (2006); and Core New Art Space, Denver, CO (2005). O’Brien has participated in the Fourth International Artist’s Book Triennial, Vilnius, Lithuania (2006); project MOBILIBRE-BOOKMOBILE, a traveling exhibition from Montreal, Canada; the international traveling exhibition Artist’s Books from Philadelphia and Timisoara, which traveled from Philadelphia to Timisoara to New York (2005); and Stand and Deliver Movable Book Show, which traveled to Connecticut, California, Florida, Colorado, and Illinois (2004). O’Brien teaches at the Moore College of Art and Design and works independently as a book binder for various institutions and individual artists.

Employing the classical Western conventions of male portrait painting, Justyna Badach captures the subject of the bachelor in her new series of large format photographs. Badach chooses to photograph each subject amongst their most valued possessions, echoing a pictorial form found in the mid-18th century English portraiture, where the personal display and appearance were significant indicators of class status. As Badach states “the images recall paintings which celebrated men who rejected family life in favor of intellectual pursuits and elevated their cultivated eccentricities to the status of art.”

In discussing the size of the final works Badach explains “I use the large format camera because it shares a visual affinity to painting. This approach requires that the artist be carefully attuned to the sitter and the space that they are composing . . . The sitters who chose to reveal their life to the camera also accept the vulnerability inevitably felt when opening up ones private world to a stranger . . .The portraits enable the men to openly be themselves, to use the space of the image to publicly express their identity and interests. The images become declaration of their escape from a life of social conventions and an opportunity to explore the emotional longing to pursue a self-determined life.”

Badach received a MFA in photography from Cranbrook Academy of Art, Bloomfield Hills, MI. Solo exhibitions include: The Guides, The Print Center, Philadelphia, PA (2006); Vivarium: Repeat, Resemble and Represent, Leonard Pearlstein Gallery, Philadelphia, PA (2005); and a solo exhibition at the Philadelphia International Airport, Philadelphia, PA (2004). Her work has been featured at Pentimenti Gallery, Philadelphia, PA (2006); Festival Internazionale di Roma (2006); The Galleries at Moore College of Art, Philadelphia (2005); Vox Populi Gallery, Philadelphia (2005); Studio Thomas Kellner, Siegen Germany (2005); The Center for Photography at Woodstock, Woodstock, NY (2004); Lee Ka Sing Gallery, Toronto, Canada (2004); Volkswagen Gallerie at the Fringe Club, Hong Kong (2004); Main Line Art Center, Haverford, PA (2003); The Print Center, Philadelphia (2002); White Columns, New York (2001); and SOHO 20 Gallery, New York, NY (1998); among others. Badach has curated several exhibitions at the Cranbrook University and in Philadelphia and is currently associate professor and interim program director for photography at the University of Delaware, Newark, DE.

Game Boys: Photographs by Shauna Frischkorn

Jan 30, 2007 to May 6, 2007

Shauna Frischkorn’s series Game Boys reflects a youth culture obsession with video games and the investment of masculinity in gaming culture. Depicting how gender differences affect practices and the pleasures afforded by game-playing, these portraits also serve to question of subject/object positions of both the subject and the viewer.

Capturing the intense concentration of teenage boys during gaming, the portraits do not reflect the gaze of the sitter, as reflected in traditional portraiture. Rather, the severe expressions of each player is suggestive of Late Renaissance paintings depicting saints in states of ecstasy or rapture. This is further served by the lighting and composition that seem akin to the affects of heightened chiaroscuro observed in work of that period.

Frischkorn received an MFA in photography from the State University of New York at Buffalo and a MA in communication arts from Regent University, Virginia Beach, VA. Frischkorn has had solo exhibitions at Lancaster Museum of Art, Lancaster PA (2004); Sykes Gallery, Millersville University, Millersville, PA (2002); Center for the Arts, SUNY at Buffalo, Buffalo, NY (1998); and the Chautauqua Center for the Visual Arts, Chautauqua, NY. Some recent group exhibitions include: Outside the Centers/On the Edge, Pennsylvania State traveling exhibition (2006); AIM V: SYZYGY, University of Southern California School of Fine Arts, Pasadena, CA (2004); Pennsylvania College of Art and Design, Lancaster, PA (2003); College of New Jersey Art Gallery, Ewing, NJ (2002); and The Print Center, Philadelphia (1997). She has received a Special Opportunity Stipend from the Pennsylvania Council on the Arts (2004) and the Individual Artist Fellowship at the Chautauqua Fund for the Arts (1992, 1994 and 1999). Frischkorn is the assistant professor of art, Millersville University, Millersville, PA.

The Philadelphia Art Alliance is pleased to host two major exhibitions in the second floor galleries that will explore the potential of two mediums—notably ceramics and glass—and the ways in which the artists represented employ techniques and similar souces of inspiration to produce radically different results. Through a process of accumulation, both Bean Finneran and the collaborative team of Jon Clark and Angus Powers push the possibilities of their chosen media into site-specific installations. For each project, throusands of simple smaller forms, created in glass or ceramics, are used as the building blocks for the resulting large scale sculptures/site pieces. The final installations explore such ideas as organic growth, natural selection in plants and animals, and cosmology. Both challenge the inherent properties of their chosen medium, pushing the boundaries between traditional uses of ceramic and glass into the realms of sculpture and installation art.

Bean Finneran: Realms

Bean Finneran’s love of the natural world and saturated color are combined to create her abstract sculptures that are evocative of organic forms and animals, such as grasses and sea anemones. Working with a simple elemental form, a curve made from the most basic natural material,clay, Finneran builds with hundreds or thousands of these forms. The geometry of a curve weaves and allows construction, and the clay curves are each similar but unique connecting them to the natural world. The process that is used to construct the sculptures follows patterns found in nature.

Finneran has had solo exhibits at PDX Contemporary Art, Portland OR (2006); The Mills College Art Museum, Oakland CA (2005) Montalvo Gallery, Saratoga, CA (2003) San Jose Museum of Art (2003) Braunstein/Quay Gallery, San Francisco, CA (2003); Kemper Museum of Art, Kansas City, MO (2002); The Davis Art Center, Davis, CA (1999), among others. Finneran has been featured several times in American Ceramics, and in 2005 Finneran was included in the 3rd World Ceramics Biennial, sponsored by the World Ceramic Exposition Foundation in Icheon City, Korea. She has been featured in several exhibitions, most notably at: John Michael Kohler Arts Center, Sheboygan, WI (2005); Museum of Craft and Folk Art, San Francisco, CA (2004); Perimeter Gallery, Chicago, IL (2004).

The glass sculpture of Jon Clark often explores organic life forms that are evocative of reproductive elements in plants and flowers, and dynamic life forms from obscure underwater havens.

The work of Angus Powers often incorporates his interest in planetary imagery, utilizing motion and light for his sculptural work. For their installation at the Philadelphia Art Alliance, these concerns are extended into a combination of light, sound, and glass that will transform the gallery space into a moving sea of natural forms. The video for the installation incorporates reflected light recorded from nature in order to create what the artists state is “a cycle of time and energy evolution, within a framework of erupting transparent forms.” Gravity will be the third version of a project that originally debuted at the Delaware Center for Contemporary Art and later at Wilkes University. The sound component was created by artist Jesse Daniels.

Jon Clark is professor, head of glass at Tyler School of Art, Philadelphia. He received an M.A. from Royal College of Art, London and has been exhibiting at Snyderman Gallery in Philadelphia since 1984. Clark has had other solo exhibitions at Wilkes University, Wilkes Barre, PA (in collaboration with Angus Powers, 2006); Delaware Center for Contemporary Art, Wilmington, DE (in collaboration with Angus Powers, 2005); Philadelphia International Airport (2004); Sanske Gallery, Zurich, Switzerland (1997), Leo Kaplan Modern, New York, NY, (2002); Anne O’Brien Gallery Washington D.C. (1986 and 1989); and Fleisher Art Memorial, Philadelphia, PA (1981), among dozens of other group and invitational exhibitions. Clark has received Pennsylvania Council for the Arts, Fellowship and two National Endowment for the Arts Fellowships. His work is featured in several collections including: Corning Museum of Glass; Kunst Museum, Dusseldorf, Germany; Niijima Glass Museum, Tokyo, Japan; Tittot Museum of Glass, Taipei, Taiwan; and Museum and Gallery of Art of Western Australia, among many others.

Angus Powers received an MFA in glass at Tyler School of art, Temple University and a BFA at the New York State College of Ceramics, School of Art and Design at Alfred University. His work has been exhibited at Wilkes University, Wilkes Barre, PA (in collaboration with Angus Powers, 2006); Genesee Community College, Batavia, NY (2006); Delaware Center for Contemporary Art, Wilmington, DE (2005); Noyes Museum of Art, Oceanville, NJ (2005) and Rosemont College, Rosemont, PA (2003), among others. He has received the Creative Glass Center of America Fellowship (2003), two Contemporary Glass Philadelphia Grants (2001 and 2003), and most recently won the Glass Art Society Emerging Artist Award (2004). Powers is currently a visiting assistant professor at the School of Art and Design at Alfred University, NY and has taught in the sculpture department at Rosemont College and the glass department at Tyler School of art at Temple University.

Catherine Gontarek: Falling Upstairs

Sep 20, 2007 to Dec 30, 2007

Satellite Gallery
The Rittenhouse Hotel, 210 W. Rittenhouse Square, 3rd Floor

The paintings and collages of Catherine Gontarek contain a formal vocabulary of reductive architectonic forms, evoking elements of space, time, and lived experience. Yet within these compositions, the works achieve an unfamiliar or uncanny sensibility, somehow suggesting some ghostly, latent aspect of a familiar environment. The juxtaposition of illumination and obscurity, along with the skillful manipulations of surface and depth, creates an internal logic in each painting that seems to be only partially revealed to the viewer.

Gontarek states “My work is based on the objects, rooms and urban exteriors I see every day. I use both reduction and embellishment of man-made and natural elements to redefine the relationships of background to foreground, positive space to negative, impermanence to regeneration.”

Gontarek received a B.F.A from Central Michigan University, Mt. Pleasant, MI, and is the Art Director for the Philadelphia Gazette. Solo exhibitions include: Night and Day for Night, University City Arts League, 2004 and a Solo exhibition at the City Book Shop, 1994. Group exhibitions include February Exhibit, Gallery Siano, Philadelphia, PA, 2007; Exhibit 1, Inliquid at Painted Bride Series, 2005; and Four Visions in Collage, Kelly Writers House, 2002.

Tim McFarlane: Stratum

Sep 20, 2007 to Dec 30, 2007

The work of Tim McFarlane is a testament to continuing significance of abstract painting today. Complex and aesthetically elegant in the use of pattern and color, both the small and large scale canvases present the viewer with a glimpse into the artist’s working process. Building layer upon layer, the final work reveals a consistent attempt at negation and affirmation of impulses. This inclination to create and then recreate resonates throughout his work, enhanced by a sophisticated use of color and by using a technique where one wet application of paint is immediately reworked by another layer. This development over time creates a depth within the surface, providing an archive of the working process used to achieve the final form.

McFarlane states, “My paintings reflect my interest in the ambiguities and chaos inherent in the overlapping actions and thoughts occurring at any given moment. Like images and words flitting in and out of focus before forming a cohesive thought, I seek to capture some iota of that random formation through the use of multiple layers of paint. These layers feed off of each other, coalescing at some points and receding in others, potentially forming a whole and possibly breaking apart and dissolving.”

McFarlane received a B.A. from Tyler School of Art, Temple University, Philadelphia PA, and has been a visiting artist and lecturer at the University of Arts in 2003 and 2005. Solo exhibitions include:When is Now, Bridgette Mayer Gallery, Philadelphia, PA, 2007; Logical Progression, Bridgette Mayer Gallery, Philadelphia, PA, 2005; Inverted Dislocation, Bridgette Mayer Gallery, Philadelphia, PA, 2004; Fleisher Challenge, Fleisher Art Memorial, Philadelphia, PA ,2001; Subliminal Shift, DaVinci Art Alliance, Philadelphia, PA, 2000; and Gallerie Tugarraf, Philadelphia, PA 1996. Recent selected group exhibitions include: Luxe Calme et Volupté, Marcia Wood Gallery, Atlanta, GA, 2007; Color My World, Bridgette Mayer Gallery - New Hope, New Hope PA, 2006; Order(ed), Gallery Siano, Philadelphia PA, 2006; Sum of All Parts, Bridgette Mayer Gallery, Philadelphia PA, 2005; AAF Contemporary Art Fair, Bridgette Mayer Gallery, New York NY, 2005; Engaging The Structural, Broadway Gallery, New York, NY, 2005; Bridgette Mayer Gallery Group Show, Tierney Communications, Philadelphia, PA, 2005; Art Of The State, State Museum of Pennsylvania, Harrisburg, PA, 2004; Dear Fleisher, Fleisher Art Memorial, Philadelphia, PA, 2004; Bridgette Mayer Gallery Group Show, Tierney Communications, Philadelphia, PA, 2004; Hard Pressed, DaVinci Art Alliance, Philadelphia, PA, 2003; Painting Invitational, Cheltenham Center for the Arts, Cheltenham, PA, 2003; Drawing As Drawing, Drawing in Painting, Olmsted Gallery, Penn State Harrisburg, Middletown, PA, 2003; Gallery Group Exhibition: Survey of New Works, Bridgette Mayer Gallery, 2002/03; Summer Group Exhibition, Bridgette Mayer Gallery, Philadelphia, PA, 2002; and Mid-Atlantic Artists, Open Studios Press Gallery, Boston, MA, 2002. McFarlane was a Second Round Finalist for the Pew Fellowships in the Arts in 2000; received the Liquitex Excellence in Art-University Award from Temple University in 1993; and a Temple University Department of Art and Art Education Award for Excellence in 1993. McFarlane lives and works in Philadelphia and is represented by Bridgette Mayer Gallery, Philadelphia, PA.

SunKoo Yuh: Along the Way

Sep 20, 2007 to Dec 30, 2007

The Philadelphia Art Alliance fall exhibition, Along the Way will include monumental and small scale porcelain sculptures in combination with drawings and sketches by the internationally recognized artist SunKoo Yuh.. A 44-page catalogue will accompany the exhibition with essays by internationally recognized curator Helen W. Drutt English and noted ceramic artists and educators Wayne Higby and Tony Marsh.

Regardless of scale, Yuh most often begins with a conscious thematic concept. Family life, friends, and daily events intermingle with added symbolic elements such as animals and birds, which are derived from his Korean background. By combining cultures, Yuh’s work achieves a sense of universality through the multiple possibilities of meaning suggested by the iconographic juxtapositions in the final work.

Yuh’s use of glazes, which are vital to the impact of his sculptures, also reflect the spontaneous nature of his working procedure. Acting as an overlay, glazes are applied both to create a specific impact to a certain parts of the sculptural form and is at times applied without regard to the structure, co-mingling color over multiple figures or objects. As Tony Marsh has noted about Yuh’s use of glazes, this level of experimentation comes from Yuh’s extensive understanding of high fire glazes after testing thousands of them over his career. Marsh states “he certainly has an empirical understanding of glaze chemistry that reinforces a strong intuitive approach to working with ceramic color.” It is in Yuh’s expertise and application of glazes that that his sculptures achieve the emotional intensity and vibrancy evidenced in the final work.

A first generation Korean-American, Yuh received a BFA degree from Hong Ik University in Seoul, Korea, and an M.F.A. degree from New York State College of Ceramics in Alfred, NY. He has taught at The Korea University of Art, Seoul, Korea, Western Illinois University, Macomb, IL, and is now associate professor of ceramics at the University of Georgia, Athens, GA. Yuh has also served as a visiting artist at Kent State University, the Haystack Mountain School of Crafts, and at California State University in Long Beach.

SunKoo Yuh’s career began with his first solo exhibitions at Helen Drutt Gallery Philadelphia, who has supported and promoted the artist throughout his career. More recent solo exhibitions include: Microcosms in Memory: Recent Work by SunKoo Yuh, Parkland College Gallery, Champaign, IL; Korea International Art Fair Solo Exhibition, Tho Art, Seoul Korea; Recent Ceramic Sculpture, Len G. Everett Gallery, Monmouth College, Monmouth, IL; Mundane Expressions, Visual Arts Gallery, University of Illinois at Springfield, IL; Mundane Life, Western Illinois University Arts Gallery, Macomb, IL; and SOFA 2000, Navy Pier, Chicago, IL. Major group exhibitions include: SOFA New York, Nancy Margolis Gallery, New York, NY; Archie Bray International 2006, Archie Bray Foundation Gallery, Helena, MT; A Tale to Tell, John Michael Kohler Arts Center, Sheboygan, WI; Excess, The Clay Studio, Philadelphia, PA; World Contemporary Ceramics: Trans-Ceramic Art, Icheon World Ceramic Center, Ocheon, Korea; Asian American Ceramics, Kentucky Museum of Arts and Design, Louisville, KY; Craft 5, Maga Museum, Yongin, Korea; Poetics of Clay: An International Perspective (traveled to Philadelphia Art Alliance, Philadelphia, PA, the Museum of Arts and Design, Helsinki, Finland, and the Houston Center for Contemporary Craft, Houston, TX); Regeneration, Los Angeles Folk and Craft Museum, CA; Life from Clay, San Jose Institute of Contemporary Art, San Jose, CA; Rendezvous 99, Museum of Nebraska Art, Kearney, NE; Cloth and Clay, Pacific Asia Museum, Pasadena, CA.

In August of 2001, the internationally respected sculptor returned to his homeland as an invited artist at the World Ceramic Exposition 2001 Korea (WOCEK). The invitation was based on his bronze medal award in the WOCEK international competition. He also received an excellence prize at the Seoul Contemporary Ceramic Competition in 2000. In 2002 Yuh was awarded the grand prize at the 2nd World Ceramic Biennale International as well as the Elizabeth R. Raphael Founder’s Prize, Society for Contemporary Craft, Pittsburgh, PA. His work has featured in the collections of the Renwick Gallery, Washington, DC; Icheon World Ceramic Center, Icheon, Korea; International Museum of Ceramic Art, Alfred University, Alfred, NY; Philadelphia Museum of Art, Philadelphia, PA; Oakland Museum of Art, Oakland, CA; Pacific Asian Museum, Pasadena, CA; Houston Center for Contemporary Art, Houston, TX and the Long Beach Museum of Art, Long Beach, CA, among many others.

Transformation 6: Contemporary Works in Glass

Nov 13, 2008 to Jan 5, 2009

Organized by the Society for Contemporary Craft, Pittsburgh, PA

Transformation 6 examines contemporary glass not a just as categorical medium within craft, but as a conceptual framework itself. In this exhibition, glass is an active subject that opens a dialogue about its position within the discipline as well as its relationship to other media such as installation art, painting, and sculpture. Some works reference its everyday use as a vessel form, architectural element, or as a means of protection and containment. Yet others examine its potential associations with kitsch and the decorative arts. Multiple techniques surface throughout the exhibition, from blowing to casting, cold working,
slumping, and fusing.

Participating artists: Jennifer Blazina, Victoria Calabro, Robert Carlson, Sydney Cash, Nicole Chesney, Michael Crowder (Honorable Mention), Rene Culler, Daniel Cutrone, David Fox, Susan Tayler Glasgow, Hunter, Kazumi Ikemoto, Ben Johnson, Jeremy Lampe, Paul Moroni, John Miller, Stephen Protheroe, Kait Rhodes (Merit Award), Michael Rodgers (Honorable Mention), Amy Rueffert (Merit Award), David Schnuckel, Boris Shpeizman, Susanna B. Speirs, Penelope Comfort Starr, Atsuko Tajima, Tim Wagner, and Mark Zirpel (The Elizabeth R. Rapheal Founder!s
Prize Winner).


Selected Highlights:

Jennifer Blazina: Recollection

Recollection is an installation consisting of six antique school desks and a salvaged chalkboard. Stemming from Blazina's interest in the historic Wheaton Arts' schoolhouse, the multimedia installation casts an uncanny otherworldly presence in its portrayal of a classroom from the early 1900s. The desktops and sets are composed of fabricated steel and cast glass complete with inkwells and slats. Images of teachers and classmates from the early 1900s have been screen printed onto the underside of each glass desktop. Captured within the desks, each tells the story of a group of individuals bound together in history. As Blazina states, “Each desk holds a story, a moment in time belonging to multiple lives and captured in one frame.”

Blazina received a M.F.A. from Cranbrook Academy of Art, Bloomfield Hills, MI and received a B.F.A. from Purchase College, State University of New York as well as a B.A. in Art History from Sarah Lawrence College, Bronxville, NY. Blazina lives and works in Philadelphia, PA.


Michael Rogers: Evoking Nabakov - Honorable Mention

Michael Roger's work Evoking Nabakov focuses on the concept of transformation and metamorphosis as seen in nature and literature. The piece was inspired by a trip to the Harvard Natural History Museum where the artist encountered a display of Vladimir Nabakov's butterfly collection. A widely recognized lepidopterist, Nabakov was known in scientific circles for his research of the Blue Morpho Butterfly. The piece, consisting of a glass case containing an obvious reference to Nabakov in the placement of the typewriter, also includes photographs of butterflies covered with glass lenses on the shelf above. The glass panels enclosing the cabinet are covered with engraved text, adding to the reference of Nabakov as both scientist and important literary figure.

Rogers received a M.F.A. from the University of Illinois Urbana Champaign; and a M.A. and B.A. from Western Illinois University. He lives and works in Rochester, NY.


Mark Zirpel: Pair - The Elizabeth R. Raphael Founder's Prize Winner

Designed as a machine, Mark Zirpel's Pair reconsiders the vessel form as metaphor for human emotions. A simple mechanism holds two glass containers filled with water that are sealed with rubber gloves. As the glasses rise and lower alternately from each other, the white gloves expand and retract never to reach each other while in motion. This transference of air from one glove to another references the interconnection between the two objects, metaphorically suggesting a relationship that exists between two people that appears destined to
remain unfulfilled.

Zirpel received a M.F.A. from San Francisco Art Institute and a B.F.A. from the University of Alaska, Fairbanks, AK. He now lives and works in Seattle, WA.

John Clark: Perspectives in Buoyancy

Jun 19, 2008 to Aug 1, 2008

Rittenhouse Satellite Gallery
210 W. Rittenhouse Square, third Floor

The large scale multi-panel abstract paintings of John Clark investigate the psychological conditions of time through what the artist defines as “atmospheres or worlds which envelope visual objects as well as the viewer.” Some representational visual conditions such as buoyancy, suspension, floatation, and reflection activate these “atmospheres” and their varied surfaces suggest an unanchored, uncommitted freedom to a definable form. Presenting multiple meanings that change of the course of time, the free flowing forms that emerge from these works are as Clark states “ a desire to affect the viewer by presenting them with a sigil or non-descriptive symbol that will change their perception either emotionally or intellectually.”

Clark received a B.F.A. in painting from the Metropolitan State College of Denver, Denver, CO. Recent exhibitions include: Distillations, AxD Gallery, Philadelphia, PA (2008); Art of Communication, RFD Gallery, Swainsboro, GA (2006); While Waiting, The Wait Gallery, London, UK (2006); Temporal Climate, Space Gallery, Denver, CO (2005); New Paintings and Gallery Artists, Judish Fine Art, Denver, CO (2003); Being, Environment, Placement, SOOP Gallery, Denver, CO (2002); Chrysalis, Linoleum Arts, Denver, CO (2002); Force, Fresh Art Gallery, Denver, CO (2002); -OOO- Otherwise Imaginary Goods, GOGG, Denver, CO (2001); Contemporary Encaustic, Fresh Art Gallery, Denver, Co (2001); Changing Bodies, ILK Gallery, Denver, CO; Sound Representations, ILK Gallery, Denver, CO(2000); and Various Artists, ARC Gallery, Albuquerque, NM (2000). His work is included in numerous private and public collections throughout the country. Clark works and lives in Philadelphia, PA.

New Work by Jolynn Krystosek

Jun 19, 2008 to Aug 1, 2008

Jolynn Krystosek combined three separate but interrelated bodies of work that includes floral relief carvings in wax, floral paper cutouts, and watercolor and multimedia renderings of exotic fowl.  Throughout each series, themes of adornment, and fragility are combined with an interest in exploring the connective threads between sexuality, embellishment and the transient nature of beauty.

For the exotic fowl series, Krystosek crops the portraits of male birds emphasizing the embellishment of their head feathers and plumage that are used to attract the opposite sex. The portraits conceptualize the historical association of adornment with sexuality while relaying an opposite reaction to the viewer of grotesque exaggeration. In both the wax carvings and paper work, Krystosek deals with the historical relationship between flowers, botanica, and the hidden sexual symbolism of such objects. Referencing Baroque Dutch Still-life painting, the works reflect their vulnerability through the ephemeral nature of the materials used (wax, paper) and through the implied themes of vanitas and ars moriendi in its subject matter. As Krystosek states “These paintings capture the essence of decay with great opulence and also glorify the moment at which decomposition begins; the object’s most lush moment is actually the beginning of its end.”

Krystosek received a M.F.A. from Hunter Collage, New York, NY (2006) and a B.A. from San Francisco State University, San Francisco, CA (2003). Exhibitions include: Solo Exhibition, Lucas Schoormans, New York, NY (2007); New Work, Horticultural Society of New York, NY (2006); Frantically Baroque, Broadway Gallery, New York, NY (2006); Summer Show & Auction, 3rd Ward, Brooklyn, NY (2006); MFA Thesis Exhibition, Hunter Times Square Gallery, New York, NY  (2006); MA’s Select MFA’s, Hunter Times Square Gallery, New York, NY (2005); and Brazil: 12th Annual Watermill Summer Benefit, Watermill, NY (2005). Krystosek lives and works in New York, NY and is represented by Lucas Schoormans Gallery, New York, NY.


Jun 19, 2008 to Aug 1, 2008

was a survey of contemporary work by east coast artists who use paper not merely as a support for paint or pencil, but as a sculptural medium in its own right. The participating artists all push the boundaries of this highly flexible and readily available material, and prove that paper can be both fragile and resilient. The eight artists selected seize upon the exceptional formal variety that can be achieved with a material we take for granted everyday.

In , an array of techniques and processes are employed to both reference its material properties while questioning the traditional presuppositions of its use. Many play with the ideas associated with paper, such as its use for personal and official communication, such has Dawn Gavin’s use of United States maps as the foundation for her incised pieces or Donna Ruff’s transgressive technique of burning texts, referencing censorship and protest. Other artists look to other uses of paper, such as the traditional art of paper folding in the improvisational installations of Sarah Julig, which not only draw upon the structure and geometry of origami, but also reference the looseness and speed of a child’s craft project. In works that reflect their traditional uses, there is the concept of paper in its service as a carrier of information and language, promoting the development of personal codes and vocabularies; as a useful material for protection and enclosure; or as a reference to traditional associations with both simple and complex craft based processes. For these artists, the choice as a material is an engagement with its already established associations.

Then there is the physical nature of paper itself, and the exploration of its structure, its tensile strength and flexibility. As paper itself has been elevated to a medium of artistic expression, so has the manipulation of paper, whether handmade, manufactured or found. Treating paper as three-dimensional form, many of the artists work either by incising an existing material such as the ephemeral cut pieces by Jin Lee, Hunter Stabler, and Nami Yamamoto; or through a process of building forms through accumulation, seen in the work of Leslie Mutchler, and Natasha Bowdoin.

It is the viewer’s emotional, intellectual and physical experiences with paper that shape our relationship with the material. Thus once one acknowledges their status as paper objects, they are viewed in a completely different context to work created in any other media. The artists presented in all demonstrate a new commitment to creating objects out of this medium and expanding the boundaries from which we understand the properties of paper, thus increasingly defining themselves and their craft by the material they use.

Stemming from an interest of Native American mythology, Natasha Bowdoin’s cut paper installations celebrate the powerful forces of nature and the ways in which fables and legends celebrate the concept of transformation. Her sculptures reflect a form of resistance, in both subject matter and technique, to the forces of technology. Built through layers of intricately cut strips of paper, Bowdoin references animals and nature by combining the physical qualities of multiple and paradoxical creatures and objects into fantastical new forms.

Bowdoin received an M.F.A. from Tyler School of Art at Temple University in 2007. Recent solo exhibitions include: Panta Rei, Extraspazio, Rome, Italy (2008); Myths and Fables, Julie Chae Gallery, Boston, MA (2008); and Signs, Temple Gallery, Rome, Italy. Group exhibitions include: 2007 Joan Mitchell MFA Grant Recipient Show, The Cue Art Foundation, New York, NY (2008); The Fluid Field: Abstraction and Reference, Tyler Gallery, Elkins Park, PA (2007); VOXXOXO, Vox Populi Gallery, Philadelphia, PA (2007); MFA Biennial, Delaware Center for Contemporary Arts, Wilmington, DE (2007); Seven in a Box, Temple Gallery, Rome, Italy (2006); Ignite Annual, Artworks Gallery, Trenton, NJ (2006); Summer Exhibition, Dead Cat Gallery, Providence (2006); and Works on Paper, Arcadia University Art Gallery, Glenside, PA. In 2007 Bowdoin received the Joan Mitchell Foundation MFA Grant and has also received grants from Tyler School of Art and Brandeis University.

Working with visual documents such as maps and passports, Dawn Gavin dissects their content, thus altering their structure and meaning into a new personal narrative. Questioning the fixed meanings of such tools and their metonymic relationship to the objects in which they represent, Gavin suggests alternative ways in which to construct the purpose and content of the things that give meaning and structure to daily life. Gavin states, “Despite apparent clear purpose and directed usage, documents such as maps and passports embody ulterior structures of power and interrelationships within which we are all equally bound. This material is then literally dislocated, both spatially and temporally, in such a way as to subvert its original modus and offer alternate interpretations. What is removed in the process is ultimately as present as what is perceived in the finished work.”

Gavin received a M.F.A. in Fine Art/Public Art and a M.S. in Electronic Imaging from the Jordonstone College of Art and Design, University of Dundee, Scotland. Recent exhibitions include Transmogrification, The University of Miami Project Space, Miami, FL (2007); You Are Here: Maps Redefined by Contemporary Mid-Atlantic Artists, Ellipse Art Center, Arlington, VA (2007); Obsessive Aesthetics, Maryland Art Place, Baltimore, MD (2007); Land Adapted: Contemporary Interpretations on the Landscape, Chaney Gallery, Maryland Hall for the Creative Arts, Annapolis, MD (2007); Real Beauty, Makan, Amman, Jordon, University of Wisconsin, Milwaukee, WI and Kasser Gallery, Columbia University, New York, NY (2007); Dwell Bond Connect, Gallery Imperto, Baltimore, MD (2006); +es+ pa++erns, Pinkard Gallery, Maryland Institute College of Art, Baltimore, MD (2006); Drawing Conclusions: An Inquiry, Biggin Inquiry Gallery, Auburn University, Auburn, AL (2006); and Masters Expo, Kangaroo Self-Storage, Dundee, Scotland.

Sarah Julig (Brooklyn, NY)
The works by Sarah Julig included in are an extension of a previous body of work consisting of  cut and folded paper used to build complex environments that explore the connections between the natural and the human-made world. This series adds a transformative element to her previous works by their ability to expand and collapse, taking on the properties of fluid or the movements of sea creatures such as the jellyfish. As Julig states about her influences, ”Nature, fractal geometry, mysticism, architecture, traditional paper crafts, and science fiction…my interest lies in combining things that are in opposition.” The resulting architectural forms both confirm and negate their structure as they flow from floor to ceiling.

Julig received a B.F.A. in painting and printmaking from the University of Alaska, Fairbanks, AK and also studied at the University of Lapland, Rovaniemi, Finland and the Buckminster Fuller Institute in Brooklyn, NY. Recent exhibitions include: Happily Ever After, Canco Lofts, Jersey City, NJ (2007); Locally Localized Gravity/Plausible Arts Worlds, Institute of Contemporary Art, Philadelphia, PA (2007); La Nina, Art/Basel, Miami, FL (2006); Crystalline Cliff Dwellings, Art in Odd Places, Lower East Side, New York, NY (2006); Growing Up In Public, Repetti Gallery, Long Island City, NY (2006); Structures and Inhabitants, Xanadu Gallery/Chess Studio, New York, NY (2006); Molecular Resistance, Ides of March 5th Biennial, ABC No Rio, New York, NY (2006); A Friend in Need, Gallery 128, New York, NY (2005); and Time Tornado, Elsewhere Artists Collaborative, Greensboro, NC (2005). In 2006 Julig received the Swing Space Award from the Lower Manhattan Cultural Council, New York, NY, and was the 2005 Artist in Residence at the Elsewhere Artists Collaborative, Greensboro, NC.

Jin Lee’s elegant installations emphasize the ephemeral nature of paper, alluding to the vulnerability of the material itself. Lee cuts the paper leaving only hand-drawn lines, thereby negating the background of the original surface. When installed, layers of lines are placed in a three dimensional arrangement from floor to ceiling, allowing what was once two dimensional to expand into a sculptural form. Her inspiration lies in nature itself, stating “My work is an act on (see)ding. I make countless tiny dots and lines in repetition. . . it sprouts and becomes various kinds of lines and forms. And it gives birth to another dot, which is full of energy—becoming, growing, moving, mutating, and multiplying.”

Jin Lee received an M.F.A. from Pratt Institute, Brooklyn, NY and a B.F.A. from Seoul National University, Seoul, Korea. Recent solo exhibitions include: White Landscape: Drawings by Jin Lee, Queens College Art Center, New York, NY (2008); Stages of life, A Taste of Art Gallery, New York, NY (2002); Jin Lee, Stueben West Gallery, New York, NY (2001); and Growing Series, Gallery Hyundai—Window Gallery, Seoul, Korea (2000). Selected group exhibitions include: Reprised Reality, Gallery Korea, New York, NY (2007); The Affordable Art Fair New York City, A Taste of Art Gallery, The Metropolitan Pavilion, New York, NY (2006); 8 Korean Emerging Artists, FGS Gallery, Englewook, NJ (2005); Repeating Spaces, The Montclair University Art Gallery, Montclair, NJ (2005); No End but Addition, Vox Populi, Philadelphia, PA (2005); Luminous Recurrence, Shore Institute of Contemporary Art, Log Branch, NJ (2004); and Drawing Conclusions, Islip Museum of Art, Islip, NY. Jin Lee has had residences at Chashama, New York, NY (2006), and LMCC, New York, NY (2005), and received a VSC Grant from the Vermont Studio Center (2005).

Leslie Mutchler’s installation is based on paper pulping newsprint and recasting the forms as building blocks for a larger scale sculptural form. Loosely based on the toy design of Charles Eames House of Cards (1952),each card contains slots in which to create a monumental form. The installations result from Mutchler’s interest in collecting everyday items, such a newspaper, and reorganizing and stacking individual elements into human-scale architectural pieces. As Mutchler states, “It is the repetitive nature of this order and the beauty that emanates from simplified and functional forms that engages me.”

Leslie Mutchler received a M.F.A. from Tyler School of Art at Temple University, Philadelphia, PA and a B.F.A. from Kent State University, Kent OH. Recent solo exhibitions include Repurpose, Tilt Gallery and Project Space, Portland, OR (2007); Studies in Veneer and Plastic, Philadelphia International Airport, Philadelphia, PA (2007); Studies in Organized Living, The Painted Bride Gallery, Philadelphia, PA (2006); Cut, Fold, Stack, Repeat, Beverly Gallery, St. Louis, MO (2006); Shaping Storage, Exit Gallery, Kent, OH (2006); Cabinet InFlux, Spareroom, Baltimore, MD (2006); Re-Collection, Temple Gallery, Philadelphia, PA (2004); Verbose, Icehouse Gallery, Akron, OH (2004); and Stuff, Kent State University Sculpture Gallery, Kent, OH (2002). Selected recent group exhibitions include: Commodity, Regional Arts Commission, St. Louis, MO (2008); Papercuts, Falling Cow Gallery, Philadelphia, PA (2007); Recent Work: Leslie Mutchler and Jason Urban, Snowflake Gallery, St. Louis, MO (2007); Showroom, The Crane Arts Center, Philadelphia, PA (2007); Printstallation and Prainting, The Green Door Gallery, Kansas City, MO (2007); Emergent Behavior, Martin Art Gallery of the Baker Center for the Arts, Muhlenberg, PA (2007); Experimental Kitten, Vergette Gallery, Carbondale, IL (2006); Intimate and Epic, Lurie Garden, Millenium Park, IL (2006); and Selections from the Contemporary’s Flat Files, Contemporary Art Museum, St. Louis, MO. Mutchler is a lecturer at Forest Park Community College, St. Louis, MO and is the visiting assistant professor at Southern Illinois University, Carbondale, IL.

Donna Ruff creates elegant lace like patterns through the process of burning paper or pages of text from books. Referencing the history of burning subversive texts, Ruff suggests that this deductive act is actually one of veneration because the precision and intricacy of the burnt form.  Ruff states, “Burning the paper in a kind of scarification process feels ritualistic as well as it feels transgressive, but it is done with such care and exactitude that it feels like an act of affection.”

Donna Ruff received a M.F.A. from Rutgers University and a M.A. from Florida State University.  Ruff has had solo exhibitions at: Piedmont College, Charlottesville, VA (2007); ArtSPACE New Haven Project Room (2005); Next Gallery, New York, NY (2005); Norwalk Community College Gallery (2004); NJ Printmaking Council (2002); PS122, New York, NY (2001); Rutgers University, Brunswick, NJ (2000); and Barry University, Miami, FL (1997). Selected recent exhibitions include: Process, Bendheim Gallery, Greenwich, CT (2007); Disaster! One Year After, Zikha Gallery, Wesleyan University, Middletown, CT (2006); Feedback: Artist to Artist, German Consulate, New York, NY (2006); TEXTure, ALL Gallery, New Haven, CT (2006); 2006 Invitational, John Slade Ely House, New Haven, CT (2006); Making Your Mark, Brooklyn Arts Council, Brooklyn, NY (2006); Word of Mouth, Rhys Gallery, Boston, MA (2005); (re)creation, Guilford Art Center, Guildford, CT (2005); Baker’s Dozen, Ceres Gallery, New York, NY (2005); Women, Words, and Images, Mill Pond Gallery, St. James, NY (2005); Project Diversity, Tabla Rasa Gallery, Brooklyn, NY (2005); Babes, Holland Tunnel Gallery, Brooklyn, NY (2005); Qville, Flux Factory, Long Island City, NY (2004); The Print Show, Gallery 402, New York, NY (2004); 4th International Graphic Triennial, Prague, Czech Republic (2004); National Print Exhibition, Hunterdon Museum of Art, Clinton, NJ (2004); and Generations 04, A.I.R. Gallery, New York, NY (2004). Ruff has had residences at the Tammarind Institute, Kunstlerhaus Bethanien, Berlin, Vermont Studio Center, and Santa Fe Art Institute.

With an interest in pattern and lattice work, Hunter Stabler’s intricate cutout forms contain both discernable as well as abstract images. Without narrative or specific meaning, Stabler desires for his work to be purely a “retinal experience” that parallels the flat nature of the forms that he develops. Stabler cites a plethora sources for his work such as “synaesthesia, baroque architecture and design, ancient eastern pattern-oriented design (rugs, tapestries, lattices, tile), cymatics, symmetry, self-similar plant growth, interference patterns, vibrations, vortexes, war, war-machines, mysticism, divine and religious art, and symbols and themes of good and evil.”

Stabler received a M.F.A. in Painting at University of Pennsylvania and a B.F.A. in Painting at the Maryland Institute, College of Art. Recent solo and two person exhibitions include: Thanks to Mom and Dad, Pageant Soloveev, Philadelphia, PA (2008); Recent Works by Hunter Stabler, Dougherty's, Baltimore, MD (2004); Everything is Light Pour, Pageant Soloveev, Philadelphia, PA (2006); and Revealing the Infinite Science of God, Shinola Gallery, Baltimore, MD (2005). Group Exhibitions include: Nightingale Gallery, Watermill, NY (2008); Souvenir Show, Gift Shop Project Space, Chicago, IL (2008); Preternatural Selection, Gallery 51, North Adams, MA (2008) Danger Danger Premiere, Danger Danger Gallery, Philadelphia, PA (2008); Helter Swelter, Nightingale Gallery, Watermill, NY (2007); Naked Paper, Tower Gallery, Philadelphia, PA (2007); Invitational Summer Exhibition, Schuylkill Gallery, Philadelphia, PA (2007); High Contrast, Maze Gallery, Philadelphia, PA (2007); Young Painters Competition, Hiestand Gallery, OH (2007);  University of Pennsylvania, MFA Thesis Show, The Ice Box Gallery, Philadelphia, PA (2006); Fall Vernissage, Dinaburg Arts, New York, NY (2005); Show Me Where the Devil Bit You, Tower Gallery, Philadelphia, PA (2005). Stabler was invited to the Philagrafika 2008 Invitational Print Portfolio in collaboration with The Fabric Workshop, and has received fellowships from Royal College of London and Yale, Norfolk School for the Arts.

Nami Yamamoto’s most recent project radiant flux stems from the artists interest in the properties of light and the ability to capture light within the object itself. Using paper painted with light sensitive material, Yamamoto cuts forms resembling several different kinds of plants and leaves and organizes them as if in a scientific horticultural display. Yamamoto states “Borrowing from the process that enables plants to survive, this light collector synthesizes light with minerals to store and absorb light. Only in the absence of light does the evidence of this former light become apparent and visible, illuminating the space with the glow of its pale memory.”

Yamamoto received a M.F.A. from the Maryland Institute, College of Art and a B.F.A. from Aichi Prefectural University of Fine Arts, Aichi, Japan. Solo exhibitions include: Fleisher Challenge Exhibition, Samuel S. Fleisher Art Memorial, Philadelphia, PA (2007); water field, Delaware Center for the Contemporary Arts, Wilmington, DE (2006); Stages, Painted Bride Art Center, Philadelphia, PA (2006); White Noise, Vox Populi, Philadelphia, PA (2005); Primordial Soup, Philadelphia International Airport, Philadelphia, PA and at SpaceLab, Cleveland, Ohio (2005); tidal, Vox Populi, Philadelphia, PA (2004); and MFA Thesis Exhibition, Fox Gallery, Maryland Institute College of Art, Baltimore, PA (2001). Selected recent group exhibitions include: Facing East/Facing West, Martin Art Gallery, Muhlenberg College, Allentown, PA (2008); 2000 Years of Sculpture, Fleisher Ollman, Philadelphia, PA (2008); Light, Liao Collection, Philadelphia, PA (2007); MicroBIOPHILIA, Hicks Art Center, Buck County Community College, Newtown, PA (2007); MORGELLONS, Fleisher Ollman, Philadelphia (2006); O, Kresge Foundation, Romapo University, Mahwah, NJ (2006); Parts to the Whole, Vox Populi Gallery, Philadelphia, PA (2006); Summer Dialogue, Broadway Gallery, New York, NY (2004); and intersections, Chela, Baltimore, MD (2004). Yamamoto has received fellowships from the Pennsylvania Council on the Arts (2005 and 2008), Independence Foundation Fellowship in the Arts (2005); Joan Mitchel Foundation MFA Grant Award (2001); and has residences at The Fabric Workshop and Museum, Philadelphia, PA (2007), Bemis Center for Contemporary Arts, Omaha, NE (2003), and the Vermont Studio Center, Johnson, VT (1998). She is the Project coordinator/Master printer at The Fabric Workshop and Museum and teaches at Philadelphia University.

Deep: New Paintings by Vincent Romaniello

Feb 7, 2008 to May 18, 2008

Vincent Romaniello’s paintings draw inspiration from images culled from spacecraft and satellites that illustrate human activity on the planet. It is these images of the surface of the earth from great distances that influence the formal aesthetics of his abstract paintings. Due to the method Romaniello uses to achieve the textural appearance of his pieces, they resemble both painting and sculpture. The surfaces of his work have such deep furrows and are highly structured that they change as the viewer approaches the work from different angles.

Romaniello is able to achieve the rich texture of these paintings through a unique use of many materials. As Romaniello states “There is no paint or painting in the traditional sense. One of the most important parts of my approach is to use gesso as a sculptural medium using handmade tools that resemble rakes. By sprinkling dried pigments or ground charcoal, sand and other materials into the gesso mixture, the image emerges. The entire creative process has to happen in the very short period of time that gesso mixture is still wet.” Because the viscous nature of the materials, the edge of the thick painting surfaces often continue around the sides. The resulting works expose the process and the surface as a single cohesive form.

Romaniello’s work has been shown in many solo and group exhibitions, and is included many public and private collections around the United States. Recent solo and two person exhibitions include: The Urban Canvas, Gallery Siano, Philadelphia, PA (2005); the Philadelphia Museum of Art, Artworks Gallery (2004); Westiminster Seminary, Glenside, PA (2004); Terra Spiritus, Parallels Gallery, Philadelphia, PA (2003); Five Year Survey, Markheim Art Center, Haddonfield, NJ (1995); Old World, New Dreams, The Academy of Art College, San Francisco, CA (1004). The most recent group exhibitions include: Pattens in Painting, Diamond Newman Gallery, Boston, MA (2007); Color, Carbon 14, Philadelphia, PA (2007); Color Reflex, Artizen Fine Arts, Dallas, TX (2007); AltGeo, Green Line Art Projects, Philadelphia, PA (2007); Order(ed), Gallery Siano, Philadelphia, PA (2006); allTURNatives: Form + Spirit, Wood Turning Center, International Turning Exchange exhibition, Philadelphia, PA (2006); Engaging the Structural, Broadway Gallery, New York, NY (2005); Works on Paper, Bentley Projects, Phoenix, AZ (2004); Luminosity, Art in City Hall, Philadelphia, PA (2004); Inner Circles, traveling group exhibition, Susquehanna Art Museum, Harrisburg, PA and Sharadin Gallery, Kutztown University, Kutztown, PA (2004); Annual Invitational Exhibition, Woodmere Art Museum, Philadelphia, PA (2004); Journey Within, traveling group exhibition, Susquehanna Art Museum, Harrisburg, PA and the Morrison Gallery, Penn State University, Harrisburg, PA (2003); Nature Reined, Butters Gallery, Portland, OR (2002); and Biennale Internazionale dell’Arte Contemporanea, Florence, Italy (2001). Romaniello recently completed a residency at the International Turning Exchange in Philadelphia and has received a Special Opportunity Stipend from the Pennsylvania Council on the Arts. He has also received the Claire Breheme Memorial Prize during the 2002 Abington Annual at the Abington Art Center, and a first prize in painting at the 1996 Art of the State held at the State Museum in Harrisburg, PA.

Gijs Bakker and Jewelry

Feb 7, 2008 to May 18, 2008

Gijs Bakker and Jewelry was organized by SM’s--Stedelijk Museum s’Hertogenbosch, The Netherlands. The exhibition brought together over 100 pieces of jewelry designed by Gijs Bakker from the SM’s own permanent collection as well as private collectors, and each series was showcased in custom displays designed by Aldo Bakker. Presented at SM’s in the fall of 2005, the show was since seen in Oostende at PMMK, Museum voor Moderne Kunst and in Munich at Die neue Sammlung. The Philadelphia Art Alliance was its only U.S. destination.

Designer Gijs Bakker (b. 1942) is considered to be a pioneer in the field of jewelry design. Trained as a jewelry designer at the Rietveld Academy in Amsterdam, the discipline of jewelry design has always remained the ‘core-business’ in Bakker’s career. He quickly made his mark on the development of jewelry design in the Netherlands. Initially working with Emmy van Leersum (1930-1984), he wrested jewelry from its purely decorative status and gave it a meaningful place in the world of art and design. His attention to the concept and intrinsic meaning of jewelry has remained a constant factor in his oeuvre and a review of his work in the last 50 years produces a fascinating survey that can be read as a cultural diary. As a portrait of an era, Bakker’s work expresses a critical undertone that stems from an engagement with various art movements such as Minimalism, Conceptual Art, and Pop Art. It is telling that Bakker seldom designs a single piece of jewelry but virtually always produces a series in which one idea is developed in different ways. This is sometimes a formal starting point, as in the series of aluminum jewelry (1967-71). Most of his work, however, is based on a theme, such as the enormous neck jewelry comprising laminated photographs of regally worn necklaces (“Queens” series, 1977), the series of brooches combining photos of sports celebrities with precious stones (Sportsfigures series 1986-1988), or the ‘Holy Sport’ (1998) and the “I Don’t Wear Jewels, I Drive Them” (2001) series.


The Liberating Form 1963-1973

Beginning with his earliest designs, Bakker felt compelled to push against the weight of the craft tradition. His earliest experiments. such as Gouden ui (1965) represent an attempt to seize control of the materials and force it into almost impossible forms. It was through this intimate knowledge of the possibilities of a particular medium, that he--as well as a group of colleagues that included Emmy van Leersum, Nicholaas van Beek, Francoise van den Bosch and Bernard Lameris—could liberate jewelry from its roots in craft and consider it an equal to other disciplines in the fine arts. Work from this period refocused on creating a harmonious form related to the body but created out of pure necessity. This paralleled the principles behind the abstract geometric formal style that dominated Dutch painting during this period, but Bakker’s designs were confined to melding form and function—that is, as an object to be worn. This separated his work from the mediums of painting and sculpture. It was during this period, that Bakker created large collars such as Stovepipe Necklace (1967) as well as Neck Ornament/Shoulder Piece (1967). The use of industrial materials used in these works served to emphasize the relationship between body and form, ultimately undermining the traditional preconceptions of jewelry as ornament or as a precious object.

The Medium is the message 1976-1983

By the mid-1970s, Bakker’s interest in geometric form evolved into a sole interest in the individual to determine the form of the object. Beginning with his Shadow Jewelry (1973), Bakker eventually turned to unique features such as the profile as the source for the form of his designs. For Profile Necklace, and his series of Profile Brooches, the object could only be worn by one individual, again questioning the purpose and function of jewelry and its relationship to the wearer. The same principle also directed the production of Bib/Slab (1976), where a black and white photograph of the wearer’s chest was printed on a piece of fabric and worn around the neck like a baby’s bib. For Bakker, these were forms that not only stressed the individual but the wearer’s physical identity. Influenced by the work of Bruce Naumann which Bakker saw in the 1977 Documenta, his work in this period sought to counter collectivist spirit of the preceding decade. Taking an almost aggressive stance, his “Queens” series of laminated photographs of necklaces mocked the ritualistic and charming aspects of jewelry, evoking the relative value of that which is real verses that which is imitated by substituting actual jewels for an inexpensive facsimile.

Reconsiliation and Virtuosity: 1985 to the present

After the death of his wife, Emmy van Leersum in 1984 came the appearance of three series brooches and necklaces employing the laminated photograph as part of the work. In Bakker’s “Sportsfigure” brooches, the artist appropriates a banal subject of mass culture such as sports and combines the image with precious stones or metals. This interest in the human body in motion combined with art history eventually led to such necklaces as Adam (1988), and Titiaan (David) (1987). In a third series “Bouquet Brooches”, the real beauty of the stone is mounted in the false splendor of a bouquet of flowers depicted in a picture postcard.

Simultaneous with this continuous use of basic materials and mundane subjects was a return to his earlier investigations of form from the early 1970s. Influenced by the ways that digital technologies were being employed in the field of architecture and design, his research into the removal of material while retaining its structure eventually led to his “Shot” bracelets. For this series, the motion of the objects creation is imitated through the form. The bullets are shoot into a sphere from different angles, creating holes in the surface and bulges on the edges. These works require modeling through a computer program as well as a mechanical mastery of creating the perfect mould in which to cast the form.

Despite this short return to technique and form, 1998 marked a return to subjects of mass culture and consumerism. In Bakker’s “Holysport” series, he replaced the head and arms of Christ with that of a famous soccer star, thus comparing sports with religion. In his series “I Don’t Wear Jewels, I Drive Them,” huge precious stones are set into photographs of luxury cars. More sardonic, yet more subtle in their messages, these two series reflect the culmination of Bakker’s attitude to jewelry both conceptually and through the tangible form.

Ultimately Bakker’s constant drive to revitalize his work does not just have a passive, uncontrollable influence on the professional field of jewelry. In co-founding the Chi Ha Paura…? Foundation, which is solely dedicated to jewelry, he deliberately created a framework in which he challenges other designers and artists to produce new ideas, materials, and techniques.

From the outset Bakker’s work has attracted international attention and it is found in numerous public and private collections. Previous publications about his work, such as Gijs Bakker Ontwerper - Solo voor een solist (Gijs Bakker Designer - Solo for a soloist) and Objects to use’ examine his influence and work as a designer and founder of Droog Design. Both the exhibition and the catalog, Gijs Bakker and Jewelry is the first comprehensive overview of his jewelry. The catalog has become a standard reference that includes an extensive introduction by Ida van Zijl, a complete overview of his oeuvre to date, and a biography of Bakker with a complete bibliography.

The Photographs of Robert Glenn Ketchum

An Aperture Traveling Exhibition
Support provided by The Honickman Foundation, Philadelphia, PA

Covering an area larger than the state of Washington, southwest Alaska is a vast watershed that drains from the summits and uplands of the Alaska and Aleutian mountain ranges, west to Bristol Bay and the Bering Sea. A tundra and forest landscape, it is crossed by hundreds of rivers and scattered with thousands of lakes, including Iliamna, one of the ten largest freshwater lakes on the planet. Home to three national wildlife refuges, two national parks (Katmai and Lake Clark), and Wood-Tikchik, the largest state park in the United States, the habitat supports a great array of wildlife including caribou, moose, eagle, and brown bear. It is also the most productive salmon fishery in the history of the world.

Southwest Alaska provided a unique opportunity for an East Coast audience to experience the unique beauty of the region while reflecting on what is at stake in Alaska and the future of these territories, specifically with regard to land use and habitat protection. This exhibition offered a compelling look at a current flashpoint in the environment debate and positioned itself as a must-see event.

The photographs in this exhibit were selected from Robert Glenn Ketchum’s comprehensive 2-book Aperture release, Rivers of Life: Southwest Alaska, The Last Great Salmon Fishery and Wood-Tikchik: Alaska’s Largest State Park the most complete photographic archive ever created of this area.

Ketchum’s fine photographic prints are included in the collections of the Museum of Modern Art, New York, NY, the National Museum of American Art, Washington, DC, the Museum of Contemporary Art, Los Angeles, CA, the Metropolitan Museum of Art, New York, NY, the Corcoran Gallery of Art, Washington, DC, George Eastman House, Rochester, NY, the Center for Creative Photography, University of Arizona, Tucson, AZ, and many others. Large collections of his prints have been established for scholarly research at the Amon Carter Museum of Art, Fort Worth, TX, and The Huntington Library, Collections, and Botanical Gardens, in Pasadena, CA.

Lisa Murch is influenced by her undergraduate studies in entomology, biology and zoology. She creates sophisticated and intricate sculptures and site installations using craft based processes with common materials such as paper, wire, thread, yarn and found objects. Her delicate works transform these mundane materials into extraordinary constructions, often influenced by the history of the setting. She explores the complex relationships between organisms and their environments and is inspired by natural forms and processes, making references to plants, seeds, wings, birds and insects. At the Philadelphia Art Alliance, Murch created a site-specific installation that incorporated some of the original vegetation such as the wisteria vines planted in the PAA garden when the building functioned as a residence for the Wetherill Family. Throughout the installation, the living vine incorporated insects that resemble the properties of its leaves and flowers.

Murch received an M.F.A. from Pennsylvania Academy of Fine Arts, Philadelphia and a B.A. from Denison University, Granville, OH. Murch also studied at the Marschutz School of Painting and Drawing in Aix-en-Provence, France. Recent solo exhibitions include: Solo Series 2007, Abington Art Center, Jenkintown, PA (2007); Natural Artifice, Schuylkill Center, Philadelphia (2005). Group exhibitions include: Celebrating Winter through Nature, Wave Hill, Bronx, NY (2007); Philagraphfika Invitational Exhibition, William Penn Foundation, Philadelphia, PA (2006);  Survive, Thrive, Alive, Wave Hill, Bronx, NY (2006); Kites: Art Takes Flight (Commission),Main Line Art Center, Haverford, PA (2006); Inside/Outside: Passages (Outdoor Installation and Indoor Exhibition), Abington Art Center, Jenkintown, PA (2005); Night of 1000 Drawings, Artists Space, New York, NY (2004); Dear Fleisher, Fleisher Art Memorial, Philadelphia, PA (2004); On Color: The Green Show, The Esther Klein Gallery, Philadelphia, PA (2004); NANO Show, Nexus Foundation for Today’s Art, Philadelphia, PA (2004); and Unearthed,  The Schuylkill Center, Philadelphia, PA (2003). Murch has received several fellowships and grants including The Independence Foundation Fellowship (2006), The Leeway Foundation Window of Opportunity Grant (2004); and the Prince of Whales Foundation Fellowship from the Pennsylvania Academy of the Fine Arts, Philadelphia (2002).

Within contemporary art, there has been a well-noted renewal of interest in process and materials in the current practices of artists, designers, and architects. Consequently scholars and professionals have begun to consider the definition of craft outside the tightly defined perimeters that have been determined by history to be an anti-theoretical process of crafting meticulous objects in a given medium. Given this conservative historical marginalization, craft has the potential of questioning the boundaries of its own conventions even more so than other fields in contemporary art.

Many artists working in craft-based media are those who challenge these historical standards, providing a self-reflexivity to their practice, and considering the term as an active subject to be questioned in innovative ways. Scholars have argued that the roots of this climate may be found in the 1970s when higher level art educators began to teach skills to their students from a wide range of materials and techniques. The results of this attitude are widely evident in the disappearance of medium specific crafts courses in higher educational institutions.

The intent of this exhibition was to engage in this dialogue by providing alternative vantage points in which to consider the state of craft. State of the Union was not meant to be a comprehensive survey of each of what encompasses craft production today but a focus on the post-disciplinary practices being used by emerging artists who are interested in questioning the fundamental assumptions of its traditional perimeters.

Given the historically validated hierarchy between crafts and the fine arts that has been explored exhaustively by countless theorists, a new generation of artists within the craft discipline is using their work to consider ways in which craft can maintain its identity outside its relationship to the fine arts. Considered through the use of material and skill, self-reflexivity of the very position of craft and its reception by the viewer becomes the subject of the work itself. Some artists included in the exhibition explored craft processes and materials, borrowing from one or more techniques and media, thus questioning the traditional categories of craft as textiles, clay, glass, wood, and metal. Others reconsidered the traditional function or use value of craft, referencing its history as an object to be used or worn thus subverting its original purposefulness. Yet others questioned its ties to the decorative and the roots of craft aesthetic in Western history.

Rather than treating craft as pejorative term as defined against the fine arts, the artists in State of the Union wished to embrace the term craft and reject the idea of distancing themselves from the field. Approaching craft in a way that reaches beyond the restriction of a single medium or by referencing its historical purposefulness invites connections to the fine arts, interior design, architecture, new media, performing art, and pop culture. Whether it is sculptural and abstract thus working outside the conventions of the media chosen, or through its reference to the industrial, the purposeful, the decorative, or as a form of adornment, the artists in State of the Union reflected upon timely debates within the field.

Participating Artists: Yo Fukui, Haley Bates, Austin Heitzman, Adelaide Paul, Amy Beecher, Jeanne Quinn, Jen Blazina, Rachel Abrams, Jill Baker Gower, Richard Bloes, Julie York, Gord Peteran, Tetsuya Yamada.

“rEvolution” showcased works by artists who have taught jewelry and metalwork at The University of the Arts and its predecessor institutions, The Pennsylvania Museum School of Industrial Arts and The Philadelphia College of Art. The exhibition was curated by Sharon Church and Rod McCormick, co-chairs of the Metalsmith Department at The University of the Arts. This exhibit is part of “The College @ 50 Celebration at The University of the Arts.”

The Jewelry/Metals Program at what is now The University of the Arts began in 1904 under Karl Nacke’s instruction and continues to this day under the aegis of Professors Sharon Church and Rod McCormick. During the past 105 years of continuous instruction in the field, many distinguished artists have come to live and work in Philadelphia and many have, at the same time, given their time and expertise to this venerable institution. The show provided a glimpse of the numerous influences that have caused their program to evolve over time while reflecting upon its significance today.

Artists included: Karl G. Nacke; Samuel Yellin; Parke Emerson Edwards; Douglass Gilchrist; Virginia Wireman; Cute Curtin; Richard Reinhardt; Olaf Skoogfors; Leon Lugassy; Toni Goessler-Snyder; Robin Quigley; Sharon Church; Rod McCormick; Robert Oppecker; Myra Mimlitsch-Gray; Todd Noe; Ronna Silver; Jan Yager; Barbara Mail; Bruce Metcalf; Jeanne Jaffe; Maegan Crowley; Felicia Szorad; John Rais; Rebecca Strzelec; Lola Brooks; Melanie Bilenker; Veleta Vancza; Brian Weissman; Erin Daily; Erin Williams; Allison Hunt; Frederic Crist; Kai Wolter; Hratch Babikian; John Rodgers; John Matthews; Ron Cohen; Helen Drutt

Stanley Lechtzin: Five Decades 1959-2009

May 14, 2009 to Jul 26, 2009

In the 1960s, Stanley Lechtzin pioneered the use of electroforming in the United States to create distinctive and organic jewelry. The use of plastics in jewelry making allowed for the use of materials and methodologies that expanded the field of metalsmithing into areas not yet attempted by other artists of that period. The use of lightweight materials created through electroforming was introduced into his early work as a means of creating large-scale pieces that would otherwise be unwearable as metal pieces. Despite the complexity of their processes - requiring a sophisticated knowledge of electrochemistry and physics - Lechtzin considers using technologically-based practices as a means to expand the limitations of the craft itself.

Since 1980, Lechtzin has also been creating works using computer-aided design (CAD). Rendering the object in computer-aided-design allows Lechtzin to create exact mathematical renderings of the actual object. The design is then processed by Computer-Aided-Manufacturing, which is a set of instructions for the machine used to create the actual object. Despite the final physical manifestation of the design, Lechtzin considers the creative act to lie in the design completed in its digital form. Regardless of process (such as electroforming, vapor deposition and CAD) or material (including metals, plastics, glass or cut stones and gems), the ultimate guide in Lechtzin’s work is the relationship of the work to the body and its ability to be worn, as well as the relationship to organic forms found in nature.

Complementary to Lechzin’s work as an artist, he is committed to research and teaching. In 1962 Lechtzin founded the metal program at Tyler School of Art at Temple University, Philadelphia, and works with advanced undergraduates and graduate students who are engaged in using CAD as an essential tool for their work. For Lechtzin, these interrelated components of creativity and pedagogy are mutual influences that provide inspiration in both endeavors.

Lechzin is currently a Professor and Head of Metals/Jewelry Department at the Tyler School of Art at Temple University. He received his B.F.A. from Wayne State University and his M.F.A. from Cranbrook Academy of Art. His work can be found in the collections of the Museum of Arts and Design, New York, the Cooper-Hewitt Museum, The Renwick Gallery of the Smithsonian Institution, the Cranbrook Museum of Art, Yale University Art Gallery, Museum of Fine Arts, Houston, Tokyo University of Fine Arts and Music, and the Philadelphia Museum of Art, among others. In 1984 he received the Hazelett Memorial Award for Excellence in the Arts in Pennsylvania, and was elected to the College of Fellows of the American Crafts Council in 1992.

He has received numerous grants and fellowships, most notably from the National Endowment for the Arts in 1973, 1976, and 1984 as well as Fellowship in Crafts, Pennsylvania Council on the Arts in 1987 and the Visual Arts Fellowship in the Crafts from Pennsylvania Council on the Arts in 1997.

Challenging the Châtelaine

Feb 18, 2009 to Apr 26, 2009

Organized by the Designmuseo, Helsinki, Finland and Helen W. Drutt English

Challenging the Châtelaine was an extensive international overview of the diversity within  a unique genre of jewelry design—the châtelaine. The exhibition included works by over seventy artists from Europe, North and South America, Australia and Japan, and was conceived by Helen W. Drutt English.

The origin of the French word châtelaine comes from the Middle Ages and meant the mistress of the castle. One of her typical features was a key ring she wore around the waist. The word was then adopted into the English language with the same meaning. In the 19th century châtelaine also came to mean a pendant worn on a belt. During this period, the chatelaine symbolized power as a means of managing property and its keeper had access to what lay behind locked doors and the authority to access it. Today it has evolved from this traditional function to become an emblem of the wearer. For this exhibition the key has become symbolic as a “key” to the personality of the subject chosen.

For the exhibition, invited artists were free to decide on the type of chatelaine they wished to make and to whom it was dedicated. The personalities used to inspire the pieces in the exhibition varied widely and the role models chosen represented differing relationships to the artists, ranging from fervent admiration to biting sarcasm. The most popular figures were fellow visual artists, writers, singers, actors, and designers. Other figures include politicians, royalty, scientists, culinary artists, entrepreneurs, engineers or family members. The diverse range of role models included Eva Peron, John James Audubon, Leonard Cohen, Leonardo da Vinci, Julia Child, Claude Monet, and Cinderella, among many others.

With a role model at their starting point, the artists invited to participate interpreted this expressive symbol in a wide variety of ways. For some of the artists it is not worn on the belt at all, but rather has been interpreted as a brooch, earrings or as a free standing sculptural form. Stretching the conventions of jewelry design, the works ranged from traditionally worn pieces out of conventional materials to montages of readymade elements such as pens, spoons, razors and toys. Alongside metal, the artists also employed wood, clay, fabric, Plexiglas, photographs, dough and even medications.

Originating at the Designmuseo, Finland, Challenging the Châtelaine traveled throughout Europe, incuding Lalounis Jewelry Museum, Athens, Greece, Design Museum, Gent, Belgium, Stedelijk Museum's, Hertogenbosch, The Netherlands, and Kunsterhaus, Vienna, Austria. The Philadelphia Art Alliance was the only venue to host the exhibition in the United States.

The Sitting Room: Four Studies

Sep 24, 2010 to Jan 3, 2011

The Sitting Room: Four Studies

Jennifer Angus, Ligia Bouton, Carole Loeffler and Saya Woolfalk

"The Sitting Room" was designed to consider the ideological meanings associated with the history of the sitting room, the original function of the PAA building as a residence, and the physical features of the first and second floor galleries of the PAA. Four artists created installations that are not an historical recreation of the building as a private home, but an interpretation of the concept of “display”—as a reflection of social anxieties and desires—for a contemporary audience. In addition, the projects for The Sitting Room invited connections between craft and conceptual art practices, bringing the usual assumptions of craft as domestic ornament into the realm of installation art.

The exhibition took three factors into consideration. First, this exhibition considered Victorian concepts of the parlor room. The sitting room (also termed the parlor room or the drawing room) was a prominent feature of domestic architecture until the early 20th century and served as a public reception space within a private setting. As the site of public social interaction, it was meant to exhibit or display the home in its most refined state. As such, the sitting room acted as a performance space for the social presentation and the self-imposed definition of its inhabitants. In this framework, the sitting room as a site for private display parallels the purpose of the PAA as a site for public display. Secondly, the projects considered the position of craft within contemporary art. The recent resurgence in scholarship posits craft as an expanding concept that transcends boundaries based on medium, function, or empty aesthetic pleasure. The term now incorporates many other fields of creativity as well as new technologies, reinforcing a post-disciplinary approach beyond the restriction of a single medium, and a connection of the crafted object to the fine arts, interior design, architecture, new media, performing art, and pop culture. Third, the theme of the exhibition was predicated upon the history of the building as a residence. The Philadelphia Art Alliance (cited on the National Register of Historic Places in Philadelphia) was built as a residence in 1906 for Samuel P. Wetherill. The rigid delineation of internal space reflected the standard models of the Victorian home, and as with most mansions of the period, the first floor of the Wetherill residence contained two formal sitting rooms, a public reception room to greet guests and a parlor room for entertaining.

Despite the aesthetic differences in the work that was commissioned for this exhibition, several overlapping themes emerged. As the sitting room in the Victorian area signified a place in the home with specific functions, all of the artists chose to interpret this for a contemporary audience by addressing several subjects from a sociological perspective: for Jennifer Angus, an alternative view of the 19th century and the mania surrounding ideas of collection and display during that period; for Carole Loeffler, the psychological implications of the domestic interior; for Ligia Bouton, the history of Victorian parlor seances; and for Saya Woolfalk, the creation of an alternative utopian space for an imagined future--using vernacular materials combined with technology--to forge alternative/mobile spaces that create ideal social communities.

Additional support for The Sitting Room was provided by:
The Independence Foundation, Pennsylvania Council on the Arts, Philadelphia Cultural Fund, and Members of the PAA.

Andrea Gaydos Landau: Control Point

May 27, 2010 to Aug 12, 2010

With "Control Point," Andrea Gaydos Landau orchestrated a gallery take over: vines broke through the ceiling and erupted from the floor, and an accumulated density of linear vines formed an emerging pattern. Constructed like a drawing, the installation was composed from varying fabrics of different densities. They shifted like shadows; faint gestures of movement and life.

Andrea Gaydos Landau's broader studio practice tackles the notion of structure, both architectonic and organic, decorative and chaotic, along with processes that are suggestive of addition, division and subtraction. By building or compiling with pattern, Landau wishes to reveal information of a new order, or perhaps to expose the subtle possibility of an alternative cosmology.

Andrea Gaydos Landau received her BFA in Fiber and Material Studies from The Cleveland Insitute of Art and her MFA from the Cranbook Academy of Art. Andrea has shown in several exhibitions outside of school including the ‘First Look’ exhibition at The Hudson Valley Center for Contemporary Art in Peekskill, NY, featuring graduating, emerging artists from across the country. She also participated in a group show called ‘Delinquent Systems’ at Warren Robbins Gallery at University of Michigan in Ann Arbor, MI. Her work is also in the DaimlerChrysler Services permanent collection. Currently, she lives in Philadelphia and works at the Fabric Workshop and Museum as a Project Construction Technician.

Atticus Adams: Transcendental

May 27, 2010 to Aug 12, 2010

Concentrating on the medium of aluminum mesh and wire, Atticus Adams large-scale sculptural forms are actually based in his interest in architecture. Playing with light and shadow volume and transparency, the scale of his work envelops the viewer into a space shaped through hollow form. Based on an interest in Henry David Thoreau, Adam’s work also suggests connections to place, and the artist's ability to be attuned to the many layers of an environment. In describing his process, Adams states, “I wanted to take materials that I found inherently beautiful: metal mesh, wire, etc., and see what I could learn from them. By providing an intuitive creative direction of their own, I became engaged in the mystery of the creative process and the joy of that experience.”

Adams studied and received several degrees from several institutions including Yale School of Art, New Haven, CT; Rhode Island School of Design, Providence, RI; Tidewater Community College, VA Beach, VA; Harvard University, Cambridge, MA; Regent University, VA Beach, VA - Film Studies 1987; West Virginia University, Morgantown, WV - BS Degree 1985. Exhibitions include: Atticus Adams, Europ'art Gallery, Pittsburgh, PA 2007; Joyland, Mineral Spring Lofts, Pawtucket, RI 2004; Space and Place, Manchester Craftsmen's Guild, Pittsburgh PA 2008; Pinky Swear, FE Gallery, Pittsburgh, PA 2008; Thread From Body to Soul, Borelli-Edwards Galleries, Lawrenceville, PA 2008; Then and Now, The 97th Annual Associated Artists of Pittsburgh Show; The Carnegie Museum of Art, Pittsburgh, PA 2007.

Vanitas: Contemporary Reflections

May 27, 2010 to Aug 12, 2010

“Vanitas” is a Latin word used since the Renaissance to describe the transitory nature of life. The term characterizes the appreciation of life’s pleasures and accomplishments joined with the awareness of their inevitable loss. Artists Candy Depew, Myra Mimlitsch Gray, Katherine Kaminski, Audrey Hasen Russell and Gae Savannah explored this theme for a contemporary audience, drawing on its 17th Century origins in Dutch Still Life Painting.

More superficially but inescapably, this recorded the affluent circumstances of the artist or patron who commissioned them: fine linens, crystal and fresh, abundant food, the stuff of life. Countering this show of vanity, many historic still lifes were vanitas paintings, reminders of the brevity of life, which emphasized fleeting material pleasure as a contrast to infinite, ineffable spiritual joy. Ultimately these representations of decadence, over-embellishment, decay and waste are reminders of mortality. Presenting objects that symbolize earthly pleasures and the ephemeral nature of both art and life, works in ceramics, metals, glass, fiber and mixed media reflected each artists’ perspective and consideration of this genre.

Convergence: Pottery from Studio and Factory

Feb 12, 2010 to May 3, 2010

Now over a century old, the rift between studio pottery and industrial design has become so entrenched that their practice can seem completely antithetical. The rhetoric of the arts and crafts movement demonized industry, strongly questioning the integrity of designers who did not produce their own work. Despite the influence of the Bauhaus ideal, in the U.S. industrial design was considered the realm of businessmen and “stylists” rather than artists. By the postwar period most academic ceramics programs were deeply committed to the crafts movement’s individualist ethos. As a result of this ideological divide, the education of potters and designers continues to be conducted in radically different contexts. Potters and industrial designers, who share a great many artistic, practical, and social concerns, will almost never cross paths in their professional lives.

Yet the line between industrial and studio production has never been all that clearly drawn, and in recent years it has become increasingly blurred. The current generation of studio potters is less bound by ideology than their predecessors, and techniques like slip-casting and airbrushing have long been basic to many potters’ studio practice. Rapid developments in prototyping technology and small-batch production, along with a tremendous expansion of the market for design and the increasing success of niche marketing, have created surprising new opportunities for making and selling objects of all kinds.

This exhibition explored the results of these changes in contemporary ceramics, focusing on functional pieces that cross, expand, or confuse the boundaries between industrial design and studio production. The works on view encompassed mass-produced and limited edition objects by well-known designers, short-run “boutique” ceramics commissioned for high-end retailers, objects produced on a contract basis by independent designers, and the work of studio potters who embrace industrial techniques or the aesthetic of industrial design.

Darla Jackson: While you were out…

Feb 12, 2010 to May 3, 2010

As a figurative sculptor working in clay, Darla Jackson’s working procedure begins with the creation of clay molds to cast the final pieces in various materials such as plaster or resin. Built on a formal knowledge of human anatomy, her level of expertise and understanding of this type of sculptural realism informs her current interest in the anatomy of animals. Like Jackson’s previous installations, her work for"While You Were Out..." was based on her focus on the anthropomorphism of the animal sculptures she creates. As installations, individual sculptures were placed in human settings, often with typical domestic furnishings and decorative objects, thus suggesting the human characteristics of each sculpture and their interaction with each other in personal terms, creating as Jackson states, “a familiarity with an oddness that makes it compelling.”

Jackson received a BFA from Moore College of Art and Design, Philadelphia. Jackson has shown extensively in Philadelphia, most recently in venues such as Moore College of Art, the Icebox at the Crane Arts Building, Mew Gallery and Kelly & Weber Fine Art (201 Gallery), and outside of Philadelphia at venues such as Maryland Art Place in Baltimore, Maryland, the Pittsburgh Center for the Arts in Pittsburgh, Pennsylvania and at Uppercase Gallery in Alberta, Canada. Her work is also shown at Riverbank Arts in Stockton, NJ. Jackson was selected as a fellow in the Career Development Program with the Center for Emerging Visual Artists in Philadelphia in 2007. She is also one of four co-founders of The Other Woman (a women’s art collective). Jackson lives in Philadelphia and is currently working on a series of new sculptures for a number of upcoming shows. She also serves as an instructor at the Samuel S. Fleisher Art Memorial.

Dylan Beck’s mixed media sculptures incorporate the use of ceramics with materials common in construction, retail and home environments. Using iconic décor such as filigrees and other ornamentals found in architecture, his primary subject is the affects of suburban sprawl on the environment. Parallel to this, Beck is also aesthetically influenced by typography, using satellite and aerial images to form the basis of his final forms. As Beck notes, “Within this domain, my interests range from concepts of land use and automobile-centered planning to the psychological effects of living in the ‘non-places’ of a hypermodern world. Hypermodernity has created places that have no relation to the natural environment in which they reside. These places include airports, shopping malls, and various housing developments among others.“

Beck received his M.F.A. from Tyler School of Art, Temple University, Philadelphia, PA Recent exhibitions include: Flux, Three Person Exhibition, Invitational, Naked City Gallery, Wichita, KS (2010) ; Rooted In Place, International Group Exhibition, Invitational, Steve Wilson Gallery, Kentucky Museum of Art and Craft, Louisville, KY (2010); ILL COMMUNICATION, Solo exhibition, Thomas Hunter Project Space, Hunter College, New York, NY (2010); and Red Heat: Contemporary Work In Clay, National Group Exhibition, The University Of Tulsa, School of Art, Tulsa, OK (2010).

Kickin’ Back: Design for Leisure

Jan 27, 2011 to Mar 25, 2011

Kickin’ Back was a juried and invitational exhibition at the Philadelphia Art Alliance in collaboration with Andrew Dahlgren. Designers and architects from the Mid-Atlantic region were selected based upon their interpretations of the concept of leisure that either complement and/or comment upon what constitutes contemporary states of rest or play. From public spaces such as retail environments and parks, to objects that provide comfort or promote interaction in private environments, the work featured in the exhibition provoked questions about what surrounds us in our daily lives, and elaborates on how design impacts our downtime.

Based on four interpretations of the term leisure, the works featured in the exhibition reflected how we as a culture enjoy objects and spaces meant for enjoyment. From prototypes and one of kind or custom objects to small batch productions, the themes of play, entertainment, relaxation and leisurewear featured throughout the second floor galleries.

Participating designers included: Art in the Age of Mechanical Reproduction, Patrick Barendt, Carrot Grant, Cutesy but not Cutesy, Design Circle, Inc., Fabric Horse, Friday Architects/Planners, Greenleaf Steel Rule Die Corporation, Haley Tricycles, Holgate Toys, International Design Clinic, La Colombe Torrefaction, le Corbeau, Michael J. Patterson, Paul K. Guillow, Inc., P.I.M.P. (Party in my Pocket Spandex Designs), R.E.Load Baggage, Inc. Shift Space Design, Something’s Hiding in Here, Tectonic Toys, and TrickGo.

J'entends les trains depuis toujours / I keep hearing the trains for ever, is a three-part video exhibition by French artist Tania Mouraud. The project, curated by Marie-Claire Groeninck and Jean-Michel Rabaté, was presented by the Philadelphia International Festival of the Arts (PIFA). The three exhibitions were presented by the Philadelphia Art Alliance, Slought Foundation and the Kimmel Center for the Performing Arts.

Since the beginning of the 1970s, Tania Mouraud has created an oeuvre which encompasses spatial installations, performances, wall paintings, sculptures, drawings, photographs, and films. The essence of her creations stems from the instinctive and precise sense of perception she uses to compose each piece and each time propose a statement to the viewer. Tania Mouraud's work is emotionally invasive and committed. As Catherine Grenier, associate director of the Centre Pompidou has suggested, "she addresses sight and mind, as well as body, which is the primary agency of her art. In all the artist's works, the viewer's receptivity and subjectivity are taken to task, with the work being simultaneously in the aesthetic, intellectual and emotional register and range." (People call me Tania Mouraud, 2010)

The exhibition J'entends les trains depuis toujours concentrated on Tania Mouraud's videos and video installations, a medium that she has tackled for the last decade. These pieces further address the sensory concerns she began to explore in the earlier stages of her career. The choreography of the moving images and the sound composition pit their strength against the walls. The viewer’s perception is dissected into the volume of the exhibition space, as the borderline between figuration and abstraction is at stake.

At the Philadelphia Art Alliance, a selection of video installations explored the early video works of Tania Mouraud. From the very beginning, this medium was a way for her to introduce movement and a sense of narration in her art. It also, paradoxically enough, references the history of painting. Although she films real life without alteration, the framing, composition, and the editing of the moving image often tends toward abstraction. In La Curée (The Quarry, 2003-04), an installation of multiple monitors dispersed on the floor, the reds, ochers, and browns melt violently in a chiaroscuro that blurs one’s vision. To Mouruad, it becomes a way to express the idea of madness, the madness of humankind, The same can be seen in Le Verger (The Orchard, 2003), which juxtaposes the serene footage of a blossoming Orchard to television footage of the bombings during the Iraq War. Oppositely is the exploration of silence in 5892's (2001) clapping hands and the calm beauty of a koi pond in Invitation (2001).

The artist performed live during a one night only event on Friday, April 8 at 7:00 pm at the Philadelphia Art Alliance.

Chad Curtis: Speculative Landscapes

May 20, 2011 to Aug 21, 2011

Chad Curtis presented a body of work reconfigured specifically for the gallery space, entitled Speculative Landscapes. This multimedia construction incorporated ceramics with found objects, live plants and a digitally designed support system of shelving. Live moss encased in terrariums, referencing the Industrial Revolution when these miniature garden landscapes became popular, alluded to Curtis’ interest in the shift in the relationship between humankind and nature that occurred so rapidly in the 19th century. This was combined with multiple clay evergreen trees signifying the artificiality of the ideal landscape, both in the past as well as today. According to Curtis, “these miniature landscapes, coupled with iconic trees made of raw clay, (were) situated on a complex system of shelving (both digitally designed and milled) that creates multiple, dislocated horizon lines, which becomes a literal intersection of design, landscape, and technology. Not unlike the Industrial Revolution, the Digital Revolution has further distanced the human relationship to the natural world, ushering in an era of mediated experiences removed from the world of tactility and the physical nature of the body.”

Curtis received an M.F.A. from New York State College of Ceramics at Alfred University, Alfred, NY. He is an Assistant Professor at Tyler School of Art, Temple University, Philadelphia, PA. Previously, Curtis taught at James Madison University, Harrisonburg, VA, and Pomona College, Claremont, CA.

Matthew Alden Price: Stills

May 20, 2011 to Aug 21, 2011

Although trained in ceramics, the work of Matthew Alden Price increasingly delves into painting, combining elements of each medium in his final pieces. His painting technique is informed by is knowledge of the application of glazes, providing a trompe l'oeil finish that mimics the texture of ceramics on the two dimensional structure. This is superimposed by actual ceramic vessels and vases, further blending what is usually the very distinct mediums of painting and craft. The surfaces and sculptures Price creates are directly influenced by his travels.

Having moved over 15 times, as well as living between the United States and Korea, his works are like tactile memories of place and time. As Price states, “The memories of each place are forever present though the details often escape me. Recalling the textures and surfaces of each place is like scrolling through a collection of wallpaper samples. It is a vocabulary that forms the sentences of my stories while nurturing the desire to continually look, question, and want more.”

Matthew Alden Price received a MFA in Ceramics at Cranbrook Academy of Art, Bloomfield Hills, Michigan.

Robert Baines: A Treasury of Evidence

May 20, 2011 to Aug 21, 2011

The Philadelphia Art Alliance presented the first solo exhibition of the work of Australian goldsmith and jewelry artist Robert Baines in the United States. This exhibition was made possible through the generous support of Helen Drutt: Philadelphia.

In addition to a comprehensive survey of his jewelry works as presented in the traveling exhibition, The Schatzkammer: A Treasury of Evidence, a highlight of the exhibition was the Philadelphia Centerpiece. Suggested by curator Helen Drutt English, Baines took the opportunity to build a group of three pieces incorporating wire construction, which he had developed in 1994. This was the commencement of A. Redevent with his first group of A Table, A Crown, and A Trumpet, which were his first substantial wire pieces. The "Centerpiece" series includes a Candlestand, a Vase and a Tray, all created out of powder-coated silver. Given that the inspiration for this piece was derived from the city in which it was exhibited, the Philadelphia Art Alliance was ideal for the debut of these objects to the public.

Robert Baines’ multi-disciplinary research concentrates on three main areas: archaeometallurgy, art goldsmithing and publishing text and commentary. To Baines, jewelry is much more than mere adornment. It is a cultural, archaeological and technical document. Materials and methods are but a means of reaching different worlds. His interest in the archaic has lead to his mastering, for the purposes of reproduction, of ancient fabrication techniques. His pieces are conceptually complex and often question current and historical events with a narrative of their own, conveying both a contemporary visual relevance and a restatement of history. Baines states: "Complex new jewelry objects in precious metal will extend my modernist view of questioning the relevance of an authentic material cultural history. My art making develops a strategy of making fictitious or bogus jewelry objects under the guise of ‘games a goldsmith can play’ which draws the viewer into a spectacle of wonder.

Baines is postgraduate coordinator of RMIT Gold and Silversmithing Department and Deputy Head of the School of Art. In 1979, he received a Winston Churchill Study Grant, which followed by a Senior Fulbright Study (1996) and two Senior Andrew Mellon Conservation Fellowships at the Metropolitan Museum of Art in New York (1999, 2002). In 2007, Robert Baines received a senior research scholarship in The Sherman Fairchild Center for Objects Conservation at the Metropolitan Museum of Art in New York.

Sondra Sherman: Found Subjects

Jan 26, 2012 to May 3, 2012

Found Subjects presented the first solo exhibition in Philadelphia by California-based metal-smith Sondra Sherman. For this project, Sherman carved hollows into the pages of twelve vintage books and placed into the empty spaces a unique piece of jewelry inspired by the themes and illustrations of each book. Each book rested on a custom-designed lectern, evoking the atmosphere of a rare book room. Her installation played with the notion that a piece of jewelry is both a work of art on its own terms and an adornment for a person, and thus engenders different contexts in which to be appreciated and understood. Each piece becomes the “found subject” of the book in which it is placed, responding to an idea, phrase, or image in the book itself. Because each piece of jewelry can also be worn, the wearer of the piece – real or implied – can provide their own affective and aesthetic context for each piece as it is worn on the body.

Sondra Sherman was born and raised in Philadelphia and attended Tyler School of Art at Temple University. She received her MFA from the Akademie der Bildenden Künste in Munich, Germany. She currently resides in San Diego, CA, where she heads the Jewelry and Metalwork Program at San Diego State University. Sherman has been the recipient of numerous awards including a Tiffany Foundation Emerging Artists Fellowship and a Fulbright grant. Her work is in the permanent collections of the Philadelphia Museum of Art, the Boston Museum of Fine Arts, the Metropolitan Museum of Art, the Museum of Arts and Design, the Racine Art Museum, the Renwick Gallery-National Museum of American Art of the Smithsonian Institution, the Rhode Island School of Design Museum, and the City Museum of Turnov, Czech Republic.

A Sense of Place

Feb 2, 2012 to Apr 28, 2012

Participating in the 2012 FiberPhiladelphia festival, the Philadelphia Art Alliance presented A Sense of Place, an exhibition of the work of eight women textile artists curated by Bruce Hoffman. In the exhibit, Hoffman, a former Director of Snyderman-Works Gallery, explored the theme of location, understood as both a physical space as well as a site in memory and experience.

The artists who contributed to A Sense of Place, Bhakti Ziek, Barbara Lee Smith, Wendeanne Ke'aka Stitt, Amy Orr, Ke-Sook Lee, Pat Hickman, Marcia Docter, and Marian Bijlenga, each represented a different technical and aesthetic tradition in fiber.

Each work in the exhibition connected in a physical or metaphorical way to a specific locale. Ke-Sook Lee’s work Green Hammock is constructed from US Army Nurse’s uniforms dating from the Vietnam War. Lee, who lived through the Korean War as a child, found the uniforms at an Army supply store, and recalls being struck by the way they were torn, marked, and missing buttons, and thus reflected the experience of the nurses who wore them. The form of the hammock suggests a temporary structure for relaxation (one which can be installed almost anywhere) but the fabric’s own storied history connects the piece to a specific time and place. In their way, each work in A Sense of Place challenged the viewer to appreciate the literal manifestation of the work in front of them, and to imagine the time and place to which the work refers.

Hoffman’s selection of works represented varied techniques and cultural traditions while casting a wide and imaginative geographic net. Wendeanne Ke'aka Stitt’s work Niho Mano is a contemporary rendering of traditional Hawaiian kapa cloth made from tree bark. Pat Hickman’s piece River Teeth is comprised of the pieces of wood that resist decay when a tree dies and falls into a river. Hickman sources these "Teeth" from forests in Maine and assembles them into a grid, effectively “weaving” them together into a pattern in new physical context. At the opposite end of the spectrum, artist Amy Orr uses post-consumer waste to create three-dimensional works. Orr uses credit cards to literally clad the exterior of a doll’s house in her piece House of Cards, a work designed to highlight the way consumption literally encircles our homes with debt through the acquisition of unnecessary objects. Artist Marcia Docter responds to her experience of competing in the Iditarod sled race by assembling a mixed-media basket upon which perch an array of stuffed birds who appear to be watching video footage of the sled race in Alaska. These works address the themes of site and memory in unique ways and all employ fiber in ways both traditional and unexpected. The inclusion of found objects and tree bark alongside more familiar woven or quilted works demonstrates the expanding range of what “fiber art” can be.

Periphery: Multimedia Works by Michael Fujita

May 17, 2012 to Aug 5, 2012

Through his sculptural work, Michael Fujita explores memories of actual architectural sites and details scattered throughout the city of Philadelphia. As the artist states, “the memory of a staircase exposed now by the void where another once stood, the custom bricks of varying size used for building and paving, and the patterns made through their various combinations, all serve as launching points.” His floor and pedestal pieces demonstrate his "kiln casting" technique, a process by which he layers hundreds of varied parts and glaze materials within the confines of a mold that is capable of being fired. After the firing, the mold is broken away, revealing singular elements fused together to create a unique whole. Fujita also creates forms from wood, using the same process of layering smaller singular forms to create larger pieces. Periphery exhibited Fujita's new ceramic work as well as a life-sized tree made of wood that was constructed within the gallery. Fujita's work captures the mood and sensibility of his surroundings, often combining the beauty of nature with the built environment along with conceptual aspects such as the time, labor, and craft involved in creating the work.

Fujita received his MFA from the New York State College of Ceramics at Alfred University and a BFA from the Kansas City Art Institute. Before being awarded the Evelyn Shapiro Foundation Fellowship from the Clay Studio in Philadelphia (2009), he spent time working and teaching in Portland, Oregon. As an emerging artist, he has been included in group exhibitions in galleries and museums throughout the country, including Greenwich House Pottery, New York, NY (2011); Project Space, Phoenix Convention Center, NCECA, Phoenix, AZ (2009); Archer Gallery, Clark College, WA (2008); Richard Carter Studio, Forestville, CA (2008); the Clay Studio, Philadelphia, PA (2005 and 2006); Alfred University, Alfred, NY (2006); Dolphin Gallery, Kansas City, MO (2006); and Centerspace Gallery, NCECA, Portland, OR (2005). Prior to moving to Philadelphia, he was an instructor of Advanced Ceramics at the Oregon College of Arts and Crafts in Portland. In addition to his residency at the Clay Studio, he was a resident at Red Star Studios in Kansas City, MO, and at Pope Valley Pottery in Pope Valley, CA.

As a printmaker and installation artist, Eva Wylie’s installations both preserve and expand traditional printmaking and découpage techniques. Using a four-color separation silkscreen process, her work examines photographic duplication, an intrinsic element of contemporary pop culture, while reflecting upon craft-based traditions of the 19th century. Culling her imagery from the internet as well as other graphic sources such as magazines or product designs, Wylie displaces the content of these images from their origin and creates new forms that play with the concepts of ornament, composition, and spatial illusion. The meaning of the original image is stripped of its significance and given over to a structure that becomes decorative. Some flat screen prints are molded into elegant amorphous patterns resembling a patchwork quilt, while other works screen printed directly onto the wall are rendered as three-dimensional objects.

More specifically, Wylie's prints are reminiscent of the Victorian craft of découpage, in which women used “scraps” or prints purchased or cut from periodicals to ornament screens, worktables, or small rooms. Her installations embody the technical mastery of the complex processes of screen printing and the traditions of Victorian craft, and showcase Wylie’s ability to use these techniques in innovative ways.

Eva Wylie received her MFA in Printmaking from Tyler School of Art in 2003 and received Pennsylvania Council on the Arts grant in 2006. Wylie’s work has already been professionally recognized by many prominent institutions in the region. In addition to several solo shows at Vox, she has exhibited at University of Indiana, Bloomington, IN (2009); Moore College of Art and Design, Philadelphia, PA (2007); Fleisher Art Memorial, Philadelphia, PA (2006) and Philadelphia International Airport (2006). Wylie has had residencies at University of Tennessee Knoxville, (2011), and Graff Ateliers Montreal, Canada (2009); and was a fellow at Skowhegan School of Painting and Sculpture, Skowhegan, Maine (2005). Wylie was an Assistant Professor at Tyler School of Art and now teaches at Maryland Institute College of Art in Baltimore.

The Installation Shiny Monsters showcased Philadelphia artist Adam Wallacavage's highly imaginative chandeliers. In constructing octopus and other creature-inspired chandeliers and lighting fixtures, Wallacavage utilizes  traditional techniques of ornamental plastering, including large-cast plaster work, as well as hand-sculpting pieces from epoxy-clay. His initial work inspired Wallacavage to continue to experiment in form, color, and technique, leading him to develop unique glazes and application techniques that give his pieces a vibrant shimmer. Wallacavage also explores his love of kitsch in his sculptures. Casts of cartoon bunnies and elephants, Hello Kitty heads, and vintage toys in bright bubble-gum pink and mint green glazes are incorporated into his pieces, resulting in works that reflect his varied aesthetic interests, ranging from 16th Century Baroque opulence to 1940s Americana.


For their fall 2011 project with the Philadelphia Art Alliance, Let me Tell You About A Dream I Had, artist collective the Miss Rockaway Armada created a flotilla of several sculptural elements composed entirely from recycled and salvaged materials to be utilized in outdoor, public parades and festivals before being transformed into an interactive installation inside the galleries at the PAA. In addition to exploring the manipulative nature of art, Let Me Tell You About A Dream I Had also embodied the contemporary grassroots approach to crafts.

The first public event by the Miss Rockaway Armada introduced Philadelphia audiences to the sculpture and performances of their collective work “Let Me Tell You About a Dream I Had.” The Armada artists worked together to construct sculptural flotillas out of scavenged and repurposed materials to demonstrate that art and creativity can flourish within the constraints of sustainability. On August 21 and 22 at the Walnut Street Docks, the Armada artists staged musical performances, aerial acrobatics, shadow puppetry, and spoken word performances using their sculptures as a floating stage set. Audience members of all ages were invited to tour the flotillas themselves, test out the bicycle-powered Ferris wheel, and talk with the artists about the creation of this project.

On September 3, the Armada staged a bicycle parade from the build site where they originally constructed their sculptures in Center City to University City’s Clark Park. Performances were staged along the way and participants (both Armada artists and Philadelphia residents) rode bicycles decorated for the occasion. A musical performance was staged at the final destination in Clark Park and was organized as part of the 2011 Philly Fringe Festival. On September 10, they staged a second parade through the North Philadelphia neighborhood of Kensington. The parade itself was enlivened with Vaudeville-inspired performances, and Armada artists staged a performance at FLUXSpace, the final destination.

The culmination of the project was the exhibition in the Art Alliance galleries. The exhibition comprised sculptural elements from the performance pieces that the Miss Rockaway Armada built and displayed during the summer entirely re-imagined as a compendium of site-specific installations throughout the Art Alliance building. This project included a catalog with documentation, essays and commissioned prints by the collective as well as a micro-website. This project was supported by The Pew Center for Arts & Heritage through the Philadelphia Exhibitions Initiative and was curated by Melissa Caldwell.

Joanna Manousis: Presence in the Past

Dec 18, 2012 to Jan 28, 2013

Philadelphia Art Alliance is pleased to present "Presence in the Past," an installation of new and recent work by British-born artist and designer Joanna Manousis. Set in the PAA's first floor galleries, each piece in this exhibition is a work of trompe l'oeil mastery. A vanitas painting that appears to glow from within is actually a cast glass frame containing three-dimensional objects, illuminated by sunlight; mirrored balloons appear vulnerable to bronze arrows; a magpie gazes down at his reflection, recognizing himself in a glass jar that contains shiny objects. Her highly individual approach includes a combination of blown and cast glass, pâte de verre, mirror, and found objects, giving life to an array of works inspired by historic interiors, superstition, and the power of illusion.


Brooke Hine: In Motion

Feb 12, 2010 to May 3, 2010

Resembling many different forms found in nature, Brook Hine’s installations and sculptures are inspired by found objects in a state of decay. Delving into an imagined history, Hine finds the tactile nature of clay to be ideal for her subject matter and the spontaneous working method, allowing the material to guide the organic nature of each form. For Hine’s installations, such as her Growth/Deterioration series, fossil-like forms are composed in a way that responds to the architecture of the space. The point of departure for her other object-based work stems from the biomorphic qualities of aquatic life, often including an intricate use of stains and glazes to elaborate and draw out subtle details of the form. Ultimately, as Hine states, the objective of her work is to “discover an innate spirituality that addresses the cycle of life and death.”


Qualities of Life in Philadelphia

Sep 6, 2012 to Nov 25, 2012

The PAA is pleased to present “Qualities of Life in Philadelphia,” a group exhibition featuring projects designed to improve daily life for the citizens of Philadelphia. Designer/educators Will McHale, Alexandra Schmidt-Ullrich, and Katie Winkler are the organizers of Philly Works, a collective dedicated to empowering the creative citizens in Philadelphia through exhibitions, lectures, panel discussions, and design workshops. It has grown into a network capable of sharing the skills and resources necessary to produce new collaborative work.


Legends: Studio Jewelry by Emily Cobb

Sep 6, 2012 to Dec 10, 2012

In her first solo exhibition in Philadelphia, artist Emily Cobb has transformed the PAA’s first floor galleries into a surreal study collection for her studio jewelry, including brooches, neckpieces, and rings—highly original pieces that illustrate modern fairy tales and fables. The title of the exhibition evokes both meanings of the word “legend”: the more common use, referring to stories of mythical beings or events, as well as the term used to describe an illustration, or to explain the symbols on a map. Cobb’s premise and installation concept reflect a desire to situate her work in the storied, wood-paneled galleries of the PAA with the aim of giving visitors the impression that they have been invited into an eccentric and wondrous library.


The Tool at Hand

Feb 1, 2013 to Apr 28, 2013

In March of 2011, Dr. Ethan Lasser, then Curator at the Chipstone Foundation in Wisconsin, invited sixteen established artists from Britain and America to participate in an experiment: each artist was asked to craft a work of art using only one tool. Far from being a constraint, this unusual assignment unleashed a wave of creativity and wit.


Molly Hatch: Reverie

Feb 7, 2013 to Apr 27, 2013

For “Reverie,” her first exhibition at the Philadelphia Art Alliance, Molly Hatch has created new works inspired by her “continued effort to claim the functional surface of the dinner plate as a painting surface.”


Andrea Donnelly: Binary

Jan 26, 2012 to May 3, 2012

Richmond-based artist Andrea Donnelly's large-scale woven works comprised Binary, her first solo exhibition in Philadelphia, held in the first floor galleries at the Philadelphia Art Alliance from January 2, 2012 to April 23, 2012. Donnelly's process is as intriguing as the finished product. The artist first applies a monoprint to hand-woven cloth, then un-weaves and reweaves the cloth into two separate mirror images. Donnelly describes this process as a way of rendering the work “a literal record of its making, from the spontaneous application of dye and pigment onto the original cloth to the carefully controlled weaving process which creates the final bilateral image.” While Donnelly's work emphasizes the physical act of weaving, the scale simultaneously lends a monumental quality to an art form that is sometimes regarded as merely decorative.