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InLiquid presents From The Studio

  • July 10 – 31, 2014
  • Second Thursday Reception: July 10, 6 – 9pm
  • The Hall
  • Wednesday - Saturday 12-6pm
  • Free & Open To The Public

InLiquid will be displaying select works currently at its studio space, showcasing work by its Artist Members and community. This collection traces common themes used in the varied work of our artists.

The public hours for the Crane Arts Building are noon – 6 pm, Wednesday – Saturday, and until 9 pm on the Second Thursday of each month.

More info:

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New Music at Crane Arts in Conjunction with the Crossing Choir Presents MoM III

  • Saturday, July 12, 2014 @ 7pm
  • The Icebox
  • This event requires tickets (use link below)

6th Annual Month of Moderns Festival

Gavin Bryars world premiere: The Fifth Century
with PRISM Saxophone Quartet
Stratis Minakakis: Monteverdi Responsories (2008)
Tõnu Kõrvits: Hymns from the Western Coast (2009)
Saturday, July 12, 2014 @ 7pm
The Icebox at Crane Arts
1400 North American Street
Philadelphia, PA
Download the Festival Program

Looking for something to do pre-concert? Visit our Kensington, Northern Liberties, Fishtown Project page.

We’ve waited a long time and with much anticipation for this meeting of minds – our internationally-recognized friends at PRISM will join us in a work created for this collaboration by one of the world’s most familiar composing names, Gavin Bryars. Known for evocative texts in sparse, pensive settings, Bryars’ music has been described as “both uplifting and emotionally draining in equal measure.” (The Guardian). Rounding out the program are two contrasting works: the exuberant Hymns of the Western Coast (2009) of Estonian Tõnu Kõrvits, and the fascinatingly beautiful micro-tonal fantasia on Monteverdi motets by Greek composer Statis Minakakis, Monteverdi Responsories (2008).

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Andi Spark: Coming Through

  • Thursday 10 July – Friday 1 August 2014
  • Opening: 6–9 pm Thursday 10 July 2014
  • Crane International Project Space (Gallery 105)
  • Wed - Sat 12-6PM
  • Free & Open To The Public

Andi Spark is an anomaly. Not to be confused with an anemone, (although she is certainly a pretty flower). She is one of those rare and unique animators who ‘is’ her work. So much animation is just vacuous colour and movement, family-friendly fodder generated by enormous studios to sell merchandise. Andi and her work are flung far down the more interesting end of the animation spectrum. She is certainly an auteur and her works are delectable, fecund and alluring extensions of her fascinating spirit.

– Adam Elliot, June 2014.

Download PDF Catalogue

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Lyrical Hysterical: A Screening of Animated Shorts Curated by Oof

  • Seating is limited, please bring a lawn chair.
  • Sunday, June 29, 2014 @ 7:30PM
  • The Icebox
  • Free & Open To The Public

Lyrical Hysterical is a screening of animated shorts curated by Oof animation collective. This screening celebrates experimental animations that captivate and transport viewers without traditional narratives and dialog. Through elliptical non­narrative structures, these films create fully realized worlds by way of stunning, hypnotic visuals and eerie audioscapes. Lush beauty is threatened by moments of danger, animated objects pulse with lives of their own, and each film is infused with its own mysterious undertones.

The visuals in Lyrical Hysterical range from the observational to the surreal, from the flat to the multidimensional. Sounds play an important role in the films — ambient but not innocuous, they build to reach a fever pitch of alarm. Without the use of dialogue, these films use sight and sound to reveal treasures and horrors of places unknown.

Lyrical Hysterical will run approximately one hour and includes the following animated shorts:

Suzan Pitt | Asparagus | 1978 | (16:40)
Monica Gallab | Nice Day for a Picnic | 2008 | (4:17)
Jen Stark | Streaming Gradient | 2008 | (0:37)
Masha Krasnova­Shabeva | The Lake | 2011 | (1:00) Yoko Yuki | Barikan | 2011 | (2:30)
Constantinos Chaidalis | Sophomore | 2013 | (0:45) Lauren Gregory | Oh No! | 2013 | (1:00)
Boris Labbé | Danse macabre | 2013 | (16:09)
Brian Smee | Dungle Pukeface 2154 A.D. | 2013 | (0:47) Katie Armstrong | Interludes | 2014 | (5:30)
Heather Benjamin | Paranoiac Figure | 2014 | (1:50) Joseph Bennett | Out to Lunch | 2014 | (1:00)
Tobias Stretch | Unity | 2014 | (5:12)

Oof is a Philadelphia­based animation collective made up of members Harvey Benschoter, Amy Cousins, Jennifer Levonian, Christopher McManus, Jennie Thwing, and Ash Wilson. Oof makes experimental animations and hosts public screenings and workshops.

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All The Little People, All The Dads

  • June 12 - July 31st, 2014
  • Second Thursday Reception: June 12th, 6 - 9pm
  • Archive Space
  • Wednesday - Saturday 12-6pm
  • Free & Open To The Public

In this recent series of work I have tried to develop an interaction between themes of the group, identity, and the organization of gender. This work has developed from drawing, to printmaking, to painting and back to printmaking. This process has evolved into an effort to deconstruct the binary system of gender, using the binary system that is drawing. This combination of concept and process has produced various constructs of image which have grown out of form supporting content. Within this practice, I am utilizing the medium of drawing and the construct of gender; wherein I am looking to bend both their uses to establish a new order. This order is constructed using subtle moments in which the group identity thrives contained by its complexity under the simplified embrace with elements of contrast. 
Simultaneously, the focus of this work has been creating an interruption of solitary identity by evoking moments of group consciousness and identity. A group identity can be shared between as few as two and strives to translate to us an emotional and moral tension. There suddenly, in looking at the organization of the group experience each singular characterization begins to shoulder the weight of societal identity.

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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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  • May 8th - June 10th 2014
  • Second Thursday Reception: May 8th, 6 - 9pm
  • Second State Press
  • Free & Open To The Public

This exhibition offers a look at ten fresh new voices exploring the boundaries of the printed image from a range of distinct vantage points, including, ambitious large scale work, aggressive gestural abstraction, experimental visual narratives, visual culture interventions, plush cuddly monsters, and artifacts from mysterious worlds. 

This exhibition includes work by: 
Brandon Ard, Lari Bittman, Mark Braham, Michelle Chang, Kyle Cinciripini, Kristin Defazio, Bonnie Kissinger, Christina Kokot, Justin Porto, and Sara Strugger. 

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Really Awesome Art Show / Art Ed Annual Exhibition

  • May 8 - May 31, 2014
  • Second Thursday Reception: May 8th, 4 - 9pm
  • The Icebox
  • Wednesday - Saturday 12-6pm
  • Free & Open To The Public

Sparks fly, ideas transform, the magic of creative collaboration is all around us! We come together from all over Philly to create something inspiring, something out of this world, something REALLY AWESOME.

Join over 250 incredible young artists as they share artwork reflecting their vibrant, creative exploration within the City of Philadelphia Mural Arts Program. This year, students transformed themselves into anime characters, erected a Viking ship, and developed a multimedia street art campaign to confront bullying in their neighborhoods. 

Each year, Mural Arts offers free art classes that empower over 1500 young people in Philadelphia to acquire leadership skills while beautifying their communities with public art. Their access to art is access to life. That’s why this show is REALLY AWESOME!

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InLiquid Presents Group Mural Show

  • May 8 – July 5, 2014
  • Second Thursday receptions: May 8 and June 12, 6 – 9pm
  • The Hall
  • Wednesday - Saturday 12PM-6PM
  • Free & Open To The Public

Opening May 8, InLiquid presents a group mural show featuring four artist members in the Hall at Crane Arts. This exhibition will include murals by Donna Backues, Joe Brenman, Delia King, and Shira Walinsky, with each artist incorporating different materials and textures such as glass, paper, and acrylic to construct their large-scale works.


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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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Queensland College of Art, Cast By The Sun: A Prelude

  • April 10th - June 30th 2014
  • Second Thursday Reception: April 10th, 6 - 9pm
  • Gallery 105
  • Wednesday - Saturday, 12 - 6pm
  • Free & Open To The Public

Cast By The Sun ruptures the artificial veneer of trouble-free tropical perfection to look at its darker underside. The exhibition investigates the role of place in artistic practice, as established Australian photographic artists Ray Cook, Martin Smith, Bruce Reynolds and Amy Carkeek present new work curated by Jay Younger.

Younger traces the centrality of place in each of the artists’ works and suggests that the Brisbane imaginary internalized a certain critically brought about by a repressive government. “This was then coupled with a drive for independence from government cultural control,” she explains. As a young man arriving in Brisbane—already gay-identified and yet to become an artist— Ray Cook found himself in a circumstance that was openly hostile to both. “He survived by going underground into the darkened recess of his studio where ‘the outsider’ could be seen in a new light—that of his own imagination,” she continues.“It is a place where Ray and his friends could be who they wanted to be in their own side show, safe from the ugly realities of Bjelke-Petersen’s Queensland.” Martin Smith’s work, she says, is always questioning authority and the norms expected of us, which has resulted in a distinctly ‘Brisbane’ pleasure in failing to conform. “In his photographic works, Smith always combines text and image; the relatively banal or suburban image is incised with a story, which thereby destroys, or at least disrupts, the ‘window to the world’ aspect of representational photography.” “His semi-autobiographic stories commence with an ordinary optimism and a hefty dollop of suburban idealism that things will unfold ‘nicely’ and ‘predictably’ – but instead the story takes a dark turn that ultimately perverts the suburban ‘happy families’ dream,” she explains. Similarly, place matters in Bruce Reynolds’ works—but not in the way of repression or corruption, backwardness or boredom. “For Bruce, places give rise to materials and observations of behavioral habits in construction and design that are specific to that time and place,” she says.“His overall commentary is about the absurdity of order and control and the beauty found in this absurdity.” Amy Carkeek’s works critique the bankruptcy of the real and look at the cracks in the veneer of consumer society to raise questions about the cost of our drives. On the one hand the phenomena Carkeek critiques is global, while her visual language combines a sparkling artificiality and perverse tactility. “In Untitled #3 the ambivalent synthesis of the disembodied wig and gooey tentacles dripping down the image indicates a distinctly abject and unsettling—even creepy—marriage.”

Cast By The Sun: A Prelude is the first of two exhibitions addressing the role of place in artistic practice. Jay Younger is an artist, curator and lecturer with over a thirty year history of practice. She is Associate Professor at the Queensland College of Art and the Convenor of the Photography program.

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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. 

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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.

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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.”

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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.

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