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InLiquid Presents Art For The Cash Poor 15

  • June 14-15th, 2014
  • Friday Night Preview (tickets required)
  • Icebox
  • Saturday & Sunday from 12pm-6pm

InLiquid’s Art for the Cash Poor is an annual summer sale that operates under the premise that everyone can be an art collector. In 1999, the event began as an exposition of quality work at affordable prices, with everything from jewelry, paintings, photography, fashion, and ceramic ware priced at $199 and under.

Now, the weekend-long fair allows attendees to navigate a space bursting with arts vendors, live musical performances, culinary curiosities, and an outdoor beer garden. The addition of a Friday night ticketed preview party serves as a meet-and-greet with the artists and a fundraiser for AIDS Fund, giving guests an exclusive sneak-peek at the festivities to follow.

Quick FAQs: free admission, free street parking, close to transportation, click here for map and directions.

This year we have invited some of the top Philadelphia Influencers to curate a group of promising artists and designers.

Come to the special Friday Night Preview for a sneak peak at what the weekend has to offer. This ticketed event includes a cocktail party and benefits the AIDS Fund.

Social Media: Share the event via Facebook, #AFTCP15, Preview Party on Facebook


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Alexis Kurtzman: Auto-Erotic

  • April 10th - May 7th, 2014
  • Second Thursday Reception: April 10th, 6 - 9pm
  • The Archive Space
  • Wednesday - Saturday, 12 - 6pm
  • Free & Open To The Public

Alexis Kurtzman, Artist statement: I have a fascination with all elements pertaining to France: including interior design, history, and language. Most recently I discovered an unusual personal interest in antique French military weapons dating from the French Revolution to World War II. I have tried to develop a unique style that visually represents the passion and dedication I have for Parisian design. I best represent this with my hand drawn images that I combine with found imagery from old, practically forgotten library books.

A majority of my prints are extremely process-oriented. These elaborate and complicated prints come to fruition through specific sets of pre-planned steps, but I also embrace mistakes that inevitably occur throughout the physical process of creating my hand pulled prints. I find that the mistakes and errors along the way enable my prints to become even more exciting and dynamic. My goal is to combine two seemingly unrelated ideas in French art and history, in a way that presents a new aesthetic value and union. French interior design, from the Baroque and Rococo periods of French history, is extremely opulent and ornate; this very similar to the style of weaponry manufactured during the same time period. I use weaponry as a representation of patterning and design to connect these two concepts.

Lithographs, etchings, screen-prints, and polymer plates are some of the processes I have worked with. I would like the viewers of my work to be overcome by the amount of detail in each print. A majority of my work has very decorative aspects and reflects my interests in all things French. These prints are my response to the impact that France had, and continues to have on art, history, and culture.

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Four Over Four – A Student Photography Exhibition

  • April 29th - May 3rd, 2014
  • Reception: Thursday May 1st, 2014 from 6-9pm
  • Icebox Project Space
  • Free & Open To The Public

Four over Four is a student run photography exhibition of The University of the Arts’ Senior Photo Students: Kristen Hom, Kennedy Dickerson, Nick Rayment, Josh Stewart, Jess Landau, Cat Davies, Diana Watson, Alyssa Moore, Takashi Aoyama, Amy Kornet, Ariel Lin, Becca Menichetti, Kevin Ruiz, Krystina Carpenter, Rachel Dwyer, Kevin Bond, CJ Harker, Greg Cinque, Chelsea Griffith, Matt Eagle, Tarra McFarlane, Ashlyn Perkins, Andrea Patterson, Ted Apostolacus, Julieanne Browning , Kirsti Streahle, Sam Moss, and Eric Myszkowski. 

More info at

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Undermining Landscape & Aquifer

  • March 13th – April 6th 2014
  • Opening: March13th from 6-9 pm
  • Gallery 105
  • Wed-Sat 12-6pm
  • Free & Open To The Public

Undermining Landscape and Aquifer combine the works of Jennifer Sanzaro-Nishimura and Jude Roberts and the artists’ shared concerns with the changing landscapes of Australia. The artworks are realized through screenprints, lithographs, drawings and video/photographic works. It is the second in a series of three exhibitions at the Crane Arts Center in 2014 that features a diverse range of printmakers associated with Griffith University.

Jennifer Sanzaro-Nishimura examines the effects of mining on the Australian landscape predominantly caused by open cut mining. Her work is a direct response to the reliance of the Australian economy on income derived from mining and the devastating changes that have impinged on the Traditional land owners and regional areas as a result. Undermining Landscape scrutinizes the deceptive political undercurrents surrounding this industry.

Jude Roberts lithographs and drawings are reactions to the physical sites she draws on and documents within the artesian basin areas of Western Queensland. The works show a complexity both in the geography of the groundwater systems and the tensions that exist both metaphysically and literally within this phenomena.

The exhibition also includes Vie de Pacifique-Pacific Life, a unique exchange of original contemporary prints by 51 artists from seven countries in and around the Pacific Ocean curated by Jenny Sanzaro-Nishimura.

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Joseph Parra: Sense of Being

  • Thursday March 13th – April 6th, 2014
  • Reception: Second Thursday: March 13th, 6-9pm
  • Archive Space
  • Wed-Sat 12pm-6pm
  • Free & Open To The Public

Archive Space presents “Sense of Being” a solo exhibition by Joseph Parra. In this show Parra challenges conventional portraiture, expelling the physical features of an individual and exposing layers to reflect the varied constructs of what it is to be human. Exposure and concealment are Parra’s tools when creating his work. This process is carried out via drawing, photography, printmaking, sculpting and painting. Ultimately, these images venture to represent the notion of duplication and reflect on representation as being more than just illusionism. Joseph Parra received a BFA from the Maryland Institute College of Art (MICA) in Painting, Printmaking and Art History. Parra is currently participating in the Fob Holder Program at Second State Press in Philadelphia, PA, and recently attended The Byrdcliffe Artist in Residence Program in Woodstock, NY. Parra was a resident at the Vermont Studio Center in Johnson, VT; The International School of Painting, Drawing, and Sculpture in Umbria, Italy; and the Atelier Artist In Residence Program in New York, NY.

More info:

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InLiquid presents, Linda Celestian: Overflowing

  • March 13 – April 27, 2014
  • Second Thursday receptions: March 13 and April 10, 6 - 9pm
  • The Hall
  • Wed-Sat 12pm-6pm
  • Free & Open To The Public

InLiquid presents Overflowing, a solo installation by Linda Celestian. This exhibition is a collection of Linda Celestian’s paintings and sculptures that use nature as a metaphor for the emotional dynamics of life. Working in partnership with the laws of nature, she exploits natural markings to depict beauty and power.

Linda Celestian is a Delaware based artist who has a BFA from Moore College of Art and Design and has received multiple awards from the Delaware Division of the Arts. She has been in numerous solo and group shows at venues such as the Delaware Center for the Contemporary Arts, Independence Seaport Museum, LGTripp Gallery, and GoggleWorks Center for the Arts. Her work acknowledges her love of nature and her childhood spent immersed in it. Celestian views nature as a metaphor for human experiences and emotional states of being. Her paintings and sculptures imitate the organic flow of nature and natural formations, drawing inspiration from aerial photography, the ocean, lakes of her childhood, and the creek in her neighborhood.

Celestian writes about her art:
“I’m in partnership with the laws of nature. I allow the paint to run and puddle forming river like patterns that emulate the earth’s surface. The correlation between these imaginary waterways and our own circulatory system illustrates the connection between earth and mankind.”

More info:

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PPAC Book Fair

  • For inquiries, please contact:
  • March 29th & 30th 12-6pm
  • Icebox
  • Free & Open To The Public

Participants (Partial list)
Draw Down Books, Conveyor Arts, Duke Center for Documentary Studies, Oranbeg Press, Spaces Corners, MACK, Matt Cavanaugh, Vox Populi, Photo Book Arts, ICA Philadelphia, Ryan Foley, Aperture Foundation, Light Work, Flat Fix, Good Game Magazine, Houseboat Press, Empty Stretch, Kyle Tata & Ginevra Shay, TBW Books, Locks Gallery, Bodega.

Saturday Artist Talks/Presentations (Times to be announced):

Denise Wolff- Aperture Foundation (Time to be confirmed) Alien She Panel Discussion/12-2pm
Anouk Kruithof+Christof Nüssli/ 2:15pm

Christina Labey- Conveyor Arts/ 3:15pm

Thilde Jensen +Valerio Spada/4:15pm

Jen Davis/6pm

Sunday Artist Talks/Presentations:

Alien She Zine Workshop/ 12-2
Alex Klein- ICA Philadelphia/ 1pm

Paul Salveson/ 2:15pm
Adrain Chesser/ 3:15pm

Rachel D’Agostino- Library Company/ 4:15pm

Melissa Catanese- Spaces Corners/ 5:15pm

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  • March 12-15, 2014
  • Thursday March 13 at 7:00, 8:00, 9:00 & Saturday March 15 at 6:30
  • Icebox
  • Free & Open To The Public

The Crane Arts and Icebox Project Space are proud to present Public Works, an exhibition reimagining the usage and the notion of works in the Public Domain, featuring the staging and screening of several films now available for unrestricted use, and culminating in 4 scheduled performances of Timothy Belknap’s 72 Years to the Moon in the Icebox. The exhibition as a whole explores Public Domain as a concept: rather than a forfeiture of individual property, a place of free exchange.

72 Years to the Moon is an exploration of the screen as a site, as a stage where chance happenings and material studies collide. Reminiscent of the illusionistic feat of pioneering filmic experimentations and early lens-based technologies, the viewer witnesses sounds and motions resulting from the actions of unseen agents behind a three-dimensional screen. Creating a physical and conceptual model for being and relating in the moment, the work is a playful acknowledgment that the rules of rationality inevitably loosen when one attempts to conceive of an ever changing world. Transformations are best measured in moments and experiences, as our voyage in this world rarely ends that far from where it began.

The performance is undertaken by three brothers (Timothy, Matthew, and Bryan Belknap), as well as local performance artist Eileen Lillian Doyle.

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Civil War: Living History on American Street

  • April 12, 2014 from 12-6pm
  • Crane Arts
  • Free & Open To The Public

April 12th is the anniversary of the first shots fired in the Battle of Fort Sumter, widely acknowledged as the initial conflict of the American Civil War. On April 12, 2014, living historians and re-enactors will convene in North Philadelphia at the Icebox Project Space to engage the public and reflect upon the significance of the war and its legacy for our neighborhood and beyond. Multiple groups and perspectives will be present, including members from the Philadelphia-based 3rd US Colored Infantry and the Hampton Legion– Confederate States of America team of The North-South Skirmish Association. The events of the day will be accompanied by a display of historic artifacts and contemporary artworks, including site-specific video projections by Philadelphia artist Rebekah Flake. Refreshments and parking available.

Participants include:

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New Music at Crane Arts (in conjunction with Bowerbird) presents Michael Gordon’s “Rushes”

  • March 28th, 2014 at 8:00 p.m.
  • The Icebox
  • Admission at the door is CASH ONLY $15 ($10 students, seniors, Crane tenants).

Rushes (2012) by Michael Gordon
Commissioned by the New Music Bassoon Fund
The Rushes Ensemble includes bassoonists Dana Jessen, Michael Harley, Jeffrey Lyman, Rachael Elliott, Saxton Rose, Lynn Hileman and Maya Stone

Program Notes:
Years ago I pursed my lips and blew into a bassoon, and felt the entire instrument buzz as I droned on the very bottom note, a B flat. I held the long conical piece of wood in my hands with admiration — it was covered with what looked like a New York City subway map of shiny metal keys running every which way. The bassoon had heft and it was primal — the two reeds vibrating against each other produced a poignant and mournful sound.

Ensemble Bio: Rushes Ensemble
Making their debut in 2012, the Rushes Ensemble consists of bassoonists Dana Jessen, Michael Harley, Jeffrey Lyman, Rachael Elliott, Saxton Rose, Lynn Hileman and Maya Stone. A new force in contemporary music, this unique septet of bassoonists is dedicated to expanding and diversifying the future of bassoon repertoire through commissioning projects and collaborations. The ensemble takes its name from Michael Gordon’s Rushes, a sixty-minute work for seven bassoons commissioned through the New Music Bassoon Fund. The Rushes Ensemble released the premiere recording of Michael Gordon’s Rushes on Cantaloupe Records in March 2014. Recent engagements include performances at the Experimental Media and Performing Arts Center in New York, the November Music Festival in ‘s-Hertogenbosch, University of Michigan’s Stamps Auditorium, Amsterdam’s Ostadetheater, the Hague’s Korzo Theater and a Belgium National Radio Broadcast performance at the Concertgebouw Brugge.

Michael Gordon Bio:
Michael Gordon’s music merges subtle rhythmic invention with incredible power embodying, in the words of The New Yorker’s Alex Ross, “the fury of punk rock, the nervous brilliance of free jazz and the intransigence of classical modernism.”

Over the past 25 years, Gordon has produced a strikingly diverse body of work, ranging from large-scale pieces for high-energy ensembles to major orchestral commissions to works conceived specifically for the recording studio. Transcending categorization, this music represents the collision of mysterious introspection and brutal directness.
His orchestral and chamber works include Rewriting Beethoven’s Seventh Symphony, Sunshine of your Love, Potassium, Industry, The Sad Park, and Trance, among others. Works for theater and opera include What To Wear, Acquanetta, Lost Objects, and Van Gogh. He has also had numerous collaborations with artists in other media, most frequently with filmmaker Bill Morrison and Ridge Theater.

Gordon has been commissioned by Lincoln Center, Carnegie Hall, the BBC Proms, the Brooklyn Academy of Music, Settembre Musica, the Holland Music Festival, the Dresden Festival, and the Sydney 2000 Olympic Arts Festival, among others. The recipient of multiple awards and grants, he has been honored by the Guggenheim Foundation, the National Endowment for the Arts, the Foundation for Contemporary Performance Arts, and the American Academy of Arts and Letters.

Born in Miami Beach in 1956, Gordon holds a bachelor of arts from New York University and a master’s in music from the Yale School of Music. He is co-founder and co-artistic director of New York’s legendary music collective Bang On a Can. His music is published by Red Poppy Music (ASCAP) and is distributed worldwide by G. Schirmer, Inc.

“Rushes” for sale from Cantaloupe Records:

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  • Philadelphia Photo Arts
  • Tues–Thurs 9:30am-9:30pm / Fri–Sat 9:30am-6pm / Sun 10am-4pm
  • Free & Open To The Public

The Philadelphia Photo Arts Center is pleased to announce Cast, a group exhibition featuring the work of Dru Donovan, Amy Elkins, Tarrah Krajnak, Laurel Nakadate and Pinar Yolacan.  Using the human body and variations of historic and commercial conventions of portraiture, these artists challenge the conceptual constraints of how a portrait functions while addressing issues regarding authorship and control, as well as our stereotypes and perceived senses of beauty.

Dru Donovan presents an investigation of mourning in her book, Lifting Water. The tableaus explore the rituals of caregiving while shifting perspectives between the caregiver and the cared for. Donovan focuses on the psychological weight of physical proximity alongside emotional isolation.

Black is the Day, Black is the Night by Amy Elkins is a conceptual project surrounding the correspondence between several men serving Life and Death Row sentences throughout the United States and the artist. The text pieces, digital composites, appropriated images and portraits are constructed or digitally manipulated through formulas specific to each inmates shared story. The works are inspired by an evolving relationship; as pen pals, confessionals, strangers and comrades. In another regard, the works are meant to bring light to our nations prison systems and use of capitol punishment.

Tarrah Kranjak’s South Sound was made during the winter of 2013 while the artist was living & working out of a small family cabin on the Puget Sound. Using the library and collections of photographs contained within the cabin as a spine, Kranjak juxtaposes image and book covers which are meant to be suggestive rather than expository, relying on the formal & material qualities of the objects within them, as well as their mysterious textual & photographic contents, in order to elicit responses in the viewer that range from synthetic story-making to mute, impassable aporia. But the idea was never to narrate the story of my family using photographs and books – it was more about the way we felt at the cabin, about what Tarrah was able to do with the materials she had at hand, the results of an alchemical experiment she ran in my grandfather’s strange laboratory.

For her “Lucky Tiger” series, Laurel Nakadate took photos of herself in pinup poses, then hired men on Craigslist to look them over with ink-stained fingers and exhibited them with the salacious smudges of her observers. The series touches on voyeurism, loneliness, the manipulative power of the camera, and the urge to connect with others, through, within, and apart from technology and the media.

In Pinar Yolacan’s series Mother Goddess, the artist turned her attention to bodies, in particular those belonging to the Anatolian women of her own ancestry, whose voluptuous shapes are immortalized in pre-neolithic sculptures of Mesopotamia, such as Mother Goddess figurines and other fertility idols. Yolaçan roamed the Turkish countryside for subjects whose body types fit this timeless mold, costumed them in masked, custom-fitted, head-to-toe catsuits, and shot them reclining in classical poses on vivid color fields. The resulting images allude as much to art history and visual anthropology as to contemporary club and fetish subcultures and to the luxury industry. Perverse but dignified, Yolaçan’s brand of objectification is one that Leigh Bowery might have enjoyed.

This exhibition is made possible with support from The Andy Warhol Foundation for the Visual Arts and The John S. and James L. Knight Foundation.

More Info:

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Contemporary Works from Africa and the Diaspora

  • February 13 - March 8, 2014
  • Second Thursday Reception: February 13, 6 to 9pm
  • Indigo Arts
  • Gallery Hours: Wednesday - Saturday, 12 - 6:00 pm

Indigo Arts features a selection of contemporary paintings from Africa and the African Diaspora. Exhibited works include paintings from Botswana, Cuba, Haiti, Kenya, Nigeria and Tanzania.

Also showing: Selections from our recent show “Shrines of Life: Peruvian Retablos”
With works by Claudio Jimenez Quispe, Mabilon Jimenez, Eleudora Jimenez, Luis & Julia Huamani, Javier Gonzalez and Pedro Gonzalez.

Image above: “Together as One” James Mbuthia (Kenya) 2010

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  • February 13th - March 31st, 2014
  • Second Thursday Reception: March 13th, 6 - 9pm
  • Gallery 101
  • Hours: Wednesday - Saturday 12 - 6pm
  • Free And Open To The Public

INFINITY is the ENEMY, is presented by artist and author t.Rutt, whose name pays homage to Duchamp’s R.Mutt signature on his famous Fountain. The more than 60 art works in the show put forth a direct challenge to several core assumptions that have driven economic and financial theory for the last 40 years. The art show dovetails with t.Rutt’s book, INFINITY is the ENEMY, which questions Wall Street’s use of physics in finance. The book and art show share the title INFINITY is the ENEMY to highlight t.Rutt’s protest of the use of infinite time in the world’s most influential financial models, especially those used for the pricing of financial derivatives.
t.Rutt mixes notions of infinity with imagery from the academic papers that used infinite time when injecting physics into financial theory in 1973. Using a broad array of objects – including Duchampian toilet seats, French firemen’s jackets, and Tesla automobiles – t.Rutt highlights the destabilizing effect that the $750 trillion market for complex derivatives has had on the accuracy and reliability of all financial markets.

t.Rutt’s intervention on Tesla automobiles is titled Bad Physics on Good Physics. It applauds Tesla’s use of good physics to solve a large physical problem, and condemns the bad physics of Wall Street that has created a large financial problem.  

In addition, t.Rutt is offering a $20,000 prize to anyone who can prove or disprove whether physics or infinite time can possibly exist or be relevant in financial theory.

The artist and author studied at the London School of Economics and earned a graduate degree from Princeton University. The ebook, INFINITY is the ENEMY, is available at

Recent Article from Business Insider:

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You Can Curate! Presents: Fusain by LiLy Milroy

  • February 13 – 15 + February 19 – 20, 2014
  • Opening Reception: Thursday, February 13th 6-9pm
  • The Icebox
  • Hours: 12-6pm
  • Free & Open To The Public

Crane Arts is pleased to announce an exhibition of McCartney/Belknap Projects’ special event You Can Curate!, and its winning entry Fusain by LiLy Milroy.

In November of this past year, at the Philadelphia Museum of Art and as a part of the Citywide exhibition, Exhibitions Directors Tim Belknap and Ryan McCartney ran an event called You Can Curate!, where museum goers were invited to arrange small pieces of wood within a scaled model of the Icebox Project Space. The entries were documented, and then juried by Philadelphia based artist Winifred Lutz, with the winning entry by LiLy Milroy taking over the Icebox as a full-scale installation. The exhibition will also include photographs of many of the other entries as well as the scale model and props from the public project.

LiLy Milroy is an artist and historian. She currently lives in Belmont Hills.

Winifred Lutz has created major site-integrated installations and permanent public works in the United States and Europe. Past venues for her installations have included the Brooklyn Museum, the Brooklyn Bridge Anchorage, the Institute of Contemporary Art of the University of Pennsylvania, the Contemporary Arts Center Cincinnati, and the Aldrich Museum of Contemporary Art. Among her permanent public projects are the Garden for The Mattress Factory in Pittsburgh, the Memorial to the Pennsylvania Recipients of the Congressional Medal of Honor in Harrisburg (with Stacy Levy), and Zones of Change for the Centers for Disease Control, Atlanta, GA.

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Beneath the Surface: Russell Craig, Tim Mosely & Glen Skien

  • February 13th – March 6th 2014
  • Reception: Thursday, February 13th, 6-9 pm / Glen Skein Artist Talk: 5pm February 13th
  • Crane International Project Space (gallery 105)
  • Wed-Sat 12-6pm
  • Free & Open To The Public

Beneath the Surface presents the work of three contemporary Australian artists Russell Craig, Tim Mosely and Glen Skien, lecturers from the Queensland College of Art’s Interdisciplinary Printmaking Department. It is the first in a series of three exhibitions at the Crane Arts Center in 2014 that feature a diverse range of printmakers associated with Griffith University.

Beneath the Surface explores these artist’s shared concerns with the material surface and the subterranean landscapes of the print. The artworks are realized through relief, intaglio and digital prints, collage and the book.

This exhibition is supported by an online catalogue.

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Current Climate

  • January 9th - 25th 2014
  • Reception: January 9th from 6-9pm
  • Gallery 105
  • Wed-Sat 12-6pm
  • Free & Open To The Public

Kelton Bumgarner
Danielle Bursk
Justin Bursk
Bailey Chick
Dianne Hricko
Richard Hricko
Jennifer Johnson
Nick Kripal
Jude Lang
Kyle Lopinto
Susan Moore
John Roebas
Rebecca Saylor Sack
Kristin Schatterfield-Rein
Tim Schwartz
Colleen McCubbin Stephanic
Ian White Williams
Dganit Zauberman

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InLiquid Presents: John Woodin

  • January 9 - March 8, 2014
  • Second Thursday receptions: January 9, February 6, AND March 6, 6 - 9pm
  • The Hall
  • Wednesday - Saturday 12pm-6pm
  • Free & Open To The Public

InLiquid presents Un-natural Landscape, a solo installation by John Woodin. This exhibition is a selection from an ongoing series of landscape photographs. With this series his intention is to reveal the forces of order vs. chaos and nature vs. culture, while highlighting the incongruity of artificial order in the landscape. Most of these photographs were made in tree nurseries and vineyards on the north fork of eastern Long Island.

Woodin is a Philadelphia based artist whose landscapes, cityscapes, and still life photographs explore the relationship between nature and culture. His fine art photographs have been exhibited internationally and are held in private and public collections, including the Philadelphia Museum of Art, the Allentown Art Museum, the Smithsonian Museum of American Art, and the Library of Congress. A monograph of his work, titled City of Memory, New Orleans Before and After Katrina, was published in January 2010 by the Center for American Places at Columbia College Chicago.

John Woodin writes about his art:

“I hold a strong belief in photography’s ability to analyze. As a documentary style photographer I make images that deepen my understanding of the world and my place in it.”

Image: Veiled Vines, Photograph, 2013


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Philip Dahl: Bacterio Therapy

  • January 9th - February 13th
  • Reception: Second Thursday: January 9th, 6-9pm
  • Archive Space
  • Wednesday - Saturday 12pm-6pm
  • Free & Open To The Public

I am inspired by life, and all of its strange and wonderful wanderings. The imagery that fuels my work comes from personal life, and manifests into dreamlike imagery that begins with a single line. Drawing is somewhat sculptural in the way I build upon a line on the page. The remainder of the drawing is working to balance that line, consistently chiseling away at the image on the page. The idea and the image then become present, bleeding out from the fibers of the paper.

My process is disorder mixed with composure. I use pen and colored inks to mimic the permanent, yet unpredictable path of time we continuously move through. It can travel along the paper for long stints of joy or end short and brief. Repetition symbolizes tasks as we move back and forth throughout our vices and rituals.

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One and One Half

  • December 12th - 31st, 2013
  • Second Thursday Reception: December 12th, 6-9pm
  • Gallery 105
  • Wed-Sat 12-6pm
  • Free & Open To The Public

1 & ½ is a celebration of works from Julia Bunn, Kristin Deady, Amanda McCavour, Wes Valdez, and Charity Thackston. The collected works offer a range of material and media approaches including ceramic, fibers, glass, and video. All the artists are entering their final semester of graduate study at Tyler School of Art.

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Make & Do

  • December 12th, 2013 - Feb 22nd, 2014
  • PPAC
  • Hours: Tues. - Thurs. 930am-930pm / Fri. - Sat. 930am-6pm / Sun. 10am-4pm
  • Free & Open To The Public

Please join us for the opening reception of our most recent exhibition, Make & Do. As the title suggests, this exhibition is comprised projects that are “made,” “done,” or “performed.” For each of the 3 artists in this exhibition, the image is one of many outcomes within their practices. Their works exist in multiple forms: as performance, image, and installation. The content of each work also engages multiples audiences in its creation: city workers, dancers, choreographers, students and artists. This exhibition provides multiple perspectives from which to consider the relationship between author and audience. 

Double Document is Tad Beck’s investigation of photography’s relationship to performance and the abstract body. These photographs are of dancers, choreographers, and performers completing either choreographed or improvised movements that illustrate their usual approach. Each image was printed at 42 x 42 inches and placed on the floor, and each performer re-executed his or her original movement on the photograph, in turn disturbing and ripping the print. The prints were then rephotographed. The final images document movement as representation and sculpture and collapse multiple photographic moments into a single image. 

What began as a project inspired by a series of YouTube response videos, Jenny Drumgoole’s Make & Do series quickly shifted toward a social critique of power, social structure, and audience. This project hinges on the artist’s interest in the City of Philadelphia’s department of sanitation and its trash workers’ rights. Drumgoole held weekly celebrations of “trash day” and created an aesthetic world built around her main character, Soxx. The resulting installation is an in-progress work that breaches the art world, existing in a real-time context.

Clifford Owens’ Photographs with an Audience has been performed multiple times nationally and internationally. The structure of the project is simple: the artist asks audience members to be photographed while responding to a series of prompts. The works in this exhibition were created during the course of two nights in November at PPAC. Owens’ project has multiple iterations: the performance, the resulting photographs, and the many audiences that the images reach.

This exhibition is made possible with support from The Andy Warhol Foundation for The Visual Arts and The John S. and James L. Knight Foundation. More info:

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