Prints + Process: Mollie Goldstrom


We are pleased to present the Prints + Process of Mollie Goldstrom. She will exhibit recent etchings, along with drawings, research, and other critical components to her process. The image here shows preliminary stages of a speculative narrative of time travel and seaweed, human endeavor and folly in drawing and print, enriched by visits to the Rare Book Room of the Brooklyn Botanic Garden and late night readings of Lucy Kavaler’s ‘The Wonders of Algae’ (1961).

In Goldstroms words:

The sun was hot. Neddy Merrill sat by the green water, one hand in it, one around a glass of gin.
John Cheever, “The Swimmer”

Summer bathers float, immersed in undulating, green mats of Enteromorpha prolifera.

Lucy Kavaler sits at her desk, contemplating how to capture, in prose, an organism that ranges from the unicellular to the complex multicellular: Multiplying in toxic blooms in the hypoxic ocean, is it a harbinger of end times? Fuel, food, fertilizer, will our hopes and dreams proliferate on beds of agar?

A lone figure emerges from the waves, trailing tendrils of Ascophyllum nodosum across sun-warmed granite, and with the tangled strands, spells the word A-L-G-A-E
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MEXICANISMO: Expressions of Identity


Indigo Arts’ 30th anniversary show – including work by Enrique Flores, Nicolas de Jesus, Eddie Martinez, Felipe Morales, Rodolfo Morales, Fernando Olivera, Carlomagno Pedro, Mario Romero, Shinzaburo Takeda & others.


Mexicanismo reflects an intentional expression of Mexican identity in art which came to its fore in the years following the Mexican Revolution. A selection of prints and paintings of the last 30 years from the Indigo Arts’ collection, the exhibit testifies to the rich legacy of 20th century Mexican art. Mexicanismo illustrates many of the artistic movements unleashed by the Mexican Revolution and the advent of Mexican modernism over a century ago. While not immune to other tendencies in contemporary art of the last three decades, the artists shown here – many from the artistically fertile southern state of Oaxaca – have retained and developed the key characteristics of the period that established the Mexican School in art.

The influence of Los Tres Grandes – painter/muralists Diego Rivera, José Clemente Orozco and David Alfaro Siqueiros – persists in the political and cultural awareness of these artists. Oaxacan artist Fernando Olivera shares their heroic vision of the Indio peasant, and has unrelentingly championed the plight of the marginalized and the desaparecidos (the disappeared), particularly among the Tehuana peoples of the Isthmus. Mexico City artist Mario Romero recalls the heroic images of pre-Columbian art, but often uses them in an ironic way, juxtaposing them with modern articles and context. Indigenismo, a celebration of indigenous Mexican culture, inspired Rivera, Frida Kahlo, and particularly that chronicler of Mexican history and culture, Miguel Covarrubias. It lives on in the woodcuts of Oaxacan artist Modesto Bernardo and the prints and paintings of Shinzaburo Takeda. While born in Japan, Takeda has spent his entire adult life in Mexico, and has been called the “mas Mexicano” of Mexican artists. To American viewers this work bears a strong resemblance in style to American work of the Depression and New Deal era. This is no coincidence, because both were influenced by Rivera and the other Mexican muralists.

The Mexican flavor of surrealism embraced by Frida Kahlo, Maria Izquierdo and others is reflected in the elegant work of José Eddie Martinez. The artists of the Oaxacan School in particular became known for a variety of magic realism that was described by poet Alberto Blanco: “The appearance in our history of another time and place; a space within another space; a time within another time.” It infuses the work of the late 20th century maestro, Rodolfo Morales and many that he influenced, including Enrique Flores, Leovigildo Martinez, Felipe Morales, and Fernando Olivera.

The great Mexican engraver, cartoonist and social satirist Guadalupe Posada – while of the generation preceding the Mexican muralists – was the progenitor for much of their political and social art. He introduced the figure of the calavera or skeleton that remains the primary actor of social satire in Mexican art and popular culture today. Both Posada’s political concerns and his dark humor inspired the artists of the Taller de Grafica Popolar (the People’s Graphic Workshop) founded in 1937. Posada’s work also inspires the Guerrero print-maker Nicolas de Jesus (who prints his satiric scenes on traditional amate bark-paper) and the Oaxacan calavera-sculptor and print-maker Carlomagno Pedro.

Indigo Arts has exhibited the fine art and folk arts of Mexico, particularly Oaxaca, since 1986.

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Caroline Gore: Drawings.


The Tenant Gallery presents its inaugural exhibition, Caroline Gore: Drawings.

About the work being exhibited, Caroline says, “In 2009, I visited the Cy Twombly Gallery located on the grounds of the Menil Collection in Houston, Texas. Encountering the breadth, scale and intensity of this work in person profoundly impacted me, and I left with a desire to work larger and quicker – counter to my work as a jeweler. I have since expanded my studio practice to include a continuous pursuit of drawing by using a torch or branding tool directly on paper eliminating any additive medium. The resulting works possess a tautness between imagined constructions and emotive suggestion.”

The results of Caroline Gore’s studio practice vary in media, scale and implementation – ranging from small-scale wearable pieces to large sculptural installations and drawings. Her work can be found in the permanent collection of The Museum of Fine Arts – Houston and numerous private collections. Gore is currently Associate Professor of Jewelry, in the Craft & Material Studies Program at The University of the Arts.

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Hank Willis Thomas and Wyatt Gallery welcome you to ‘The Block,’ the visual culmination of the year-long Philly Block Project. Working in partnership with the Philadelphia Photo Arts Center and collaborating artists Lisa Fairstein, Hiroyuki Ito and Will Steacy, the exhibit highlights present-day South Kensington, celebrates its inspiring residents, and showcases the Project’s work in building community ties through the arts.

As the Philly Block Project has figuratively broken down walls in South Kensington, the exhibit will visually transform PPAC’s Gallery into a reflection of these diverse streets. With floor-to-ceiling photographs stitched together like a block of row homes, and smaller portraits taking viewers inside, the 500 images celebrate—as Block Captain Carmen Fernandez would say—‘the life that is beating here.’
Head to the Philadelphia Photo Arts Center (1400 N. American Street) through November 30, and discover the inspiring stories from ‘The Block.’

Major support for Philly Block Project has been provided by The Pew Center for Arts & Heritage with additional support from:
The John S. and James L. Knight Foundation
Penn Treaty Special Services District
The National Endowment for the Arts
Julie Jensen Bryan and Robert Bryan
Lynne and Harold Honickman
Margaret Harris and Phil Straus
Jane and Leonard Korman
Christine Lussier and Robert Hamill

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Image: Residents of N. Cadwallader Street in the South Kensington neighborhood of Philadelphia PA pose for Philly Block Project artists Hank Willis Thomas and Wyatt Gallery in June, 2016.

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InLiquid Presents Joseph Opshinsky


InLiquid presents Local Color: Cut Paper Collages, which is a solo exhibition in The Hall of the Crane Arts building by InLiquid artist member Joseph Opshinsky. Finding its roots in the natural world of Northeastern Pennsylvania, Opshinsky’s work often grows out of nature’s reclaiming localized scenery or the contemplation of time’s natural wear on man’s additions to the landscape. His images reveal and provide careful consideration of moments, spaces, and landscapes which often get ignored. Opshinsky’s use of bold color, the meticulous process of hand cutting and layering paper, and specific imagery evokes a sense of wonder while offering visions of beauty in places people don’t always seek it.

Opshinsky creates murals, paintings, drawings, and, more recently, paper collages inspired by localized scenery and the often overlooked landscape. He studied painting and drawing at University of the Arts, where he earned his BFA after completing an AFA in Fine Arts at Keystone College in LaPlume, Pennsylvania. Opshinsky has had several solo exhibitions recently, participated in many juried shows – especially in the last three years, and has received various awards and honors, including the Alumni Studio Spotlight through University of the Arts. Due to the localized nature of his work, Opshinsky has seen much success in exhibiting his artwork throughout the MidAtlantic region, especially – of course – in Pennsylvania. He currently lives and works in Scranton, PA.

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AFRICA Modern / 1960-2010


Africa Modern celebrates thirty years of showing the arts of Africa at Indigo Arts Gallery. The exhibit samples the broad range of artwork from the fifty years following Africa’s independence from colonial rule – roughly from 1960 to 2010. It includes paintings, prints and sculpture by artists from Kenya, Mozambique, Nigeria, Tanzania and Senegal. Artists include: Kamante Gatura, Kamau “Cartoon” Joseph, John Kamicha, James Mbuthia and Sane Wadu from Kenya; “Dino” (Camordino Mustafa Jetha) from Mozambique; Yinka Adeyemi, Toyin Folorunso, Femi Johnson and Twins Seven-Seven from Nigeria; Omary Amonde, Mohammed Wasia Charinda, George Lilanga, Sayuki Matindiko and Simon Mpata from Tanzania; and Gora Mbengue and Alexis Ngom from Senegal.

The artists’ work is as diverse as the African continent. Most of these artists are self-taught, or come out of a workshop environment. Their work is modern in style and medium, but in many cases draws on an older, “tribal” or religious tradition. The Nigerian artists all come out of the Oshogbo artists’ workshops that date from the early sixties. While they worked in various media – oil and acrylic painting, etching, batik, repoussé metal and even beadwork – much of their work was inspired by the traditions and mythology of their Yoruba ethnicity. The most prominent member of this group was Twins Seven-Seven, who exploded on the Nigerian scene to great acclaim in 1964, but spent much of his later life in exile in Philadelphia.

The Kenyan artists vary in style and background but most are self-taught and passed through an artists’ workshop, such as the Banana Hill Art Studio, Ngecha Artist Association, or Kuona Trust Art Studio.

The Tanzanian artists all have links to the Tinga-Tinga popular painting movement invented by the late Edward Saidi Tingatinga in 1968. His brother Simon Mpata and his cousin Omary Amonde both worked in the lively style he pioneered, but some have veered in other directions – Mohammed Charinda to a documentary and sometimes brutally realistic style and Sayuki Matindiko to a playful cartoonlike style inspired by the magical shetani figures of George Lilanga.

Mozambique wood-carver Dino also works in a documentary style, depicting places, professions, ceremonies and events of modern Mozambican life with precision and humor.

The Senegalese artists work with reverse-painting on glass, expanding on a tradition of Muslim religious icons and family portraits, with subjects that draw on modern Senegalese life and folklore.

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Duende – Nadia Botello

NBotello DKessler_0015

Nadia Botello (b. 1986) is a sound artist, experimental composer, and sound designer. Her work examines deep listening practices as a method of improvisation, composition, and a means in which to engage and interact with audiences and spaces. She primarily explores the boundaries between three-dimensional spatialisation, aural sculpture, the articulation of site and space, and physical listening experiences. She has composed for dance, film, pinball, experimental opera, iPhones, plants, bodies, architecture, underwater installations, and more. Her full-length debut, Saint Shë, was featured and archived by MoMA P.S.1’s Clocktower. She’s most recently performed at James Turrell’s Skyspace “Gathered Leading”, the Philadelphia Museum of Art, Silent Barn, and Crane Arts Icebox.

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This summer, ‘Archive Collective: South Kensington 19122’ will call on South Kensington’s residents to narrate the story of their community as it has changed over time. As part of the Philly Block Project, an ongoing, grassroots collaboration in this community, curator Kalia Brooks will unveil ‘Archive Collective’ as the first of two exhibitions in the PPAC Gallery.

Since September 2015, the Collective has been gathering and organizing media that tells the story of South Kensington. The resulting archive includes photography and film that reflect the civic, industrial, spiritual, recreational and familial components that make up the dynamics of a place.

More than 1,200 images were submitted to the archive by current and former residents; through these images, you will ‘meet’ Hakan Ibisi, who carries a photograph of the Turkish grandfather who passed before he was born, but inspires him through their shared connection to Kensington’s streets. Then there’s David Livewell, a homegrown poet whose writing is inspired by his family photography. Joined by dozens of new and experienced artists in South Kensington, their narratives will activate the history and the experience of the South Kensington neighborhood as it continues to shift.

Sourcing archival images from libraries, city records and beyond, the exhibit also showcases landmarks like America’s first Salvation Army, Girard Ave’s iconic trolleys, and the once prolific Stetson hat factory.

Whether you’ve witnessed these changes first-hand, or you’ve only experienced a small piece of South Kensington, the exhibition will take a deeper look at where our community has been and where we’re heading. Meet us at PPAC this June for the opening of ‘Archive Collective: South Kensington 19122!’

Major support for the Philly Block Project was provided by The Pew Center for Arts & Heritage, with additional support from The John S. and James L. Knight Foundation, National Endowment for the Arts and Penn Treaty Special Services District.

* Photograph by David Livewell of his brother and his friends hanging out at Hancock Playground in the 80’s.

More info at PPAC

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InLiquid presents Andrea Caldarise


InLiquid presents In Two Parks at Once, which is a solo exhibition by InLiquid artist member Andrea Caldarise. Her art focuses on connecting audiences with an urban space, capturing the experience of discovery, and recreating a place through memory and imagination. These maps begin at one specific moment and continue to branch out to chart the details that define a bus stop or a familiar piece of sidewalk. The maps act both as a personal guide and as an atlas for viewers to experience their own recollections through the journeys of others. Working in collage, Caldarise’s map imagery oscillates from literal to abstract, as she works to capture the ephemeral experience of navigating a cityscape.

Caldarise is a painter, collage-maker, and collaborator inspired by happenstance conversations, exploring, and memories. Caldarise studied painting and art history at Tyler School of Art, Temple University where she received her BFA and completed an MA in Arts Administration at the University of Pennsylvania. She has participated in residencies at Contemporary Artists Center, Woodside, Troy, NY and Yale School of Art’s summer fellowship in Norfolk, CT. She is also an artistic collaborator with RealLivePeople, a Philadelphia-based dance company. Caldarise has exhibited her artwork in Philadelphia, Manhattan, Brooklyn, and Rome, Italy. She currently lives in Brooklyn, NY.


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Inliquid Presents: The Shortest Distance Between 2 Points


The Shortest Distance Between 2 Points, which is solo exhibition by InLiquid artist member Laura Krasnow. Her work blends art, science and technology to depict themes surrounding the intersection of time and place. Krasnow uses photography, and the embedded marks and symbols, to reconstruct recollections of time and place, specifically “the instant when time and place seem to merge to catch a moment.” Her images aim to force the viewer to look beyond the obvious and to reveal the essence beyond the normal visual spectrum. It is the “imperceptible connections” she seeks to define.

Krasnow, born in New York City, has lived and traveled throughout the United States, Canada, Europe, and Australia. In addition to being a freelance photographer, she has worked as an assistant editor in feature films, and been trained in film preservation and restoration. Her artwork has been exhibited throughout the United States and Europe, and is in the permanent collection of The Museum of Modern Art and The Brooklyn Museum. With a passion for art, science and technology, after obtaining an MFA at the School of the Art Institute of Chicago, she returned to school to study math, physics and computer science. Krasnow has attended seminars at the Perimeter Institute of Theoretical Physics and the Centre for Brain and Mind in Canada.

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Icebox Project Space Presents: Chewing the Scenery


An exhibition curated by Jonathan Santoro and Meredith Sellers

Featuring works by Gideon Barnett, Michael Ciervo, Micah Danges, Will Haughery, James Johnson, Sharon Koehlblinger, Paul Koneazny, Lauren Pakradooni, Paul Salveson, and Jon Weary, Chewing the Scenery is an exhibition of curatorial interventions by Jonathan Santoro and Meredith Sellers.

(With quavering voice)
(In a lower tone)
(In an even lower tone)
(Leaving her abruptly)
(As before standing opposite him)
(In an exalted high-pitched voice)
(In the same high-pitched voice)
(Silence. There is a noise as if an immense wheel were turning and moving the air. A hurricane separates them. At the same time, two Stars are seen colliding and from them fall a series of legs of living flesh with feet, hands, scalps, masks, colonnades, porticos, temples, alembics, falling more and more slowly, as if
falling in a vacuum: then three scorpions one after another and finally a frog and a beetle which come to rest with desperate slowness, nauseating slowness)
(Crying with all his strength)
(He looks at the sky)
(He pushes the Young Girl before him)
(Screaming in high-pitch)
(Plunging her hands deep into her pockets which are as big as her breasts)
(She throws his papers at him)
(He gets up and from each paper he takes a huge hunk of Swiss cheese.
Suddenly he coughs and chokes)
(With full mouth)
(He runs out)
(Like shadows, a Priest, a Cobbler, a Beadle, a Bawd, a Judge, a Peddler, arrive on stage)
(In different tones)
(Tapping his forehead)
(He runs out)
(As if confessing someone)
(At this moment night suddenly falls on stage)
(With the sigh of one having an orgasm)
(In a terrible voice)
(Boldly and gaily)
(She lifts up her dress. The Young Man wants to run away but he is frozen like a petrified puppet)
(As if suspended in the air and with the voice of a ventriloquist.)

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The Icebox Project Space is excited to kick off the New Year with a free publication and a pool party!  

Can you thing of anything you’d rather do in the middle of February then cooling off and chilling out in a pool?  We can’t either.  That’s why this February’s Second Thursday, the Icebox Project Space will be transformed into a heated tropical oasis, complete with a DJ, coat check, towel check, flamingoes, and an above-ground pool. Put on those trunks, grab a cocktail, and enjoy the sounds of POISON!!!

PLUS enter to win a private pool party on either Saturday February 13th or Valentine’s day February 14th!  Tickets will be sold at the event.

From 6 to 8 pm is a multimedia collaboration by Billy Green, Phil Conine, and Matt Noll.

From 8 pm on is a performance by Poison. 
Poison is an experimental rock band comprised of artists Joanna Belletiere, Teresa Cervantes, Filipe de Sousa, Jorge Galvan, Lisi Raskin and Kelsey Skaroff. The group formed after the spring semester of an Advanced Painting course taught by Raskin at Tyler School of Art in Philadelphia. Together they create improvised and composed songs using a variety of instruments like the keytar, stand-up bass, pizza, smartphones, and whatever else they can find at the second hand store in the children’s section. Recent performances include Infinite Rehearsal, at the Kentucky Museum of Art and Craft in Louisville.
Feel the flavor………..taste it but don’t eat it. Poison.*

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* Photo by Alexus Yiv

The Philadelphia Photo Arts Center is proud to announce the exhibition and opening reception of Teen Photo (2015 – 2016), PPAC’s free after school teaching program. Area students had the opportunity to develop their own artistic style while learning photography using digital equipment at PPAC. The student photographers spent seven months learning and discovering the medium through their own lens.

This year’s exhibition includes the work of 50 young artists: Abraham Cassis, Ada Marin, Alexandrea Gosnell, Alexis Peoples, Alexus Yiv, Ameera Polk, Andrew Robinson, Anny Liu, Aransy Feliciana, Brittany Moore, Coraletta Tucker, Danielle DiAmico, Elizabeth Nguyen, Gabriela Restituyo, Gavin Taylor, Georgina Powell, Jabree Benson, Jade Royster, Jennifer Le, Jonathan Adrien, Julie Louineus, Justice Understanding, Justina Refela, Katurrah Boyer, Keenan Smith, Leila Lorenze, Lemicha Bracey, Lisa Noel, Lotus Datts, Luis Cotto, Malik Barrett, Merhawi Tesfay, Nadia Jackson, Nakiya Owens, Nathalie Adrien, Nazhua Tairi, Oliwia Paszkowska, Patricia Cherry, Sabine Ostinvil, Santos Rivera, Selena Ortiz, Sharaine Eldafrawy, Souhanda Mohamed, Summer Blackwell, Tahje Jones, Touré Brooks, Tyteana Gutzmore, & Vanahi Diaz.

A special book and prints will be available for purchase during the course of the exhibition.

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Hearts on Fire!


Hearts on Fire!
A Valentine’s month selection of the iconography of the heart, from Haiti, Mexico and Peru.   In Haiti the heart is the symbol or vévé of theloas (spirits) Erzulie Freda and Erzulie Dantor and the various other  manifestations of the Virgin Mary.  Hearts on Fire features beaded and sequinned drapo Vodou from Haitian Vodou flag artists, including Roudy Azor, Jean-Baptiste Jean Joseph, the late Sylva Joseph, Yves Telemak and Georges Valris, as well as Haitian sculpture from recycled oil-drums, papier maché and stone.  

Mexican artists such as Oaxaca’s Fernando Olivera employ the image of the Corazon Sagrada Sacred Heart to make a political statement, commemorating the sorrow of those left behind by Latin America’s fallen, imprisoned and desaparecidos, the disapeared.  

Peru’s premier retablista Claudio Jimenez Quispé and his brother Mabilon use the sacred heart imagery to make a lighter point.  His Casa de Corazones heart workshop retablos show Peruvian artisans not only fashioning new hearts, with romantic slogans such as  “Amor eterno” and “Te amo como a nadie en el mundo”, but carefully sewing together broken hearts as well.  

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InLiquid Presents: Ladies Night


InLiquid presents Ladies Night: Connecting Women Through Art and Dialogue, which is a special collaborative exhibition between InLiquid artist member Cathleen Cohen, the People’s Paper Co-op (led by Mark Strandquist and Courtney Bowles), and community women from North Philadelphia. As a part of our Art For Action series, which utilizes the arts as a means of education and social reform through exhibitions and public programming, InLiquid sought to create a special exhibition for our Crane Arts gallery space, The Hall. The vision was for an InLiquid artist member to create a series of work inspired from their interaction and collaboration with a local community organization. Painter and poet Cathleen Cohen quickly dove into this project working with our partners at the People’s Paper Co-op. Collaborating with the co-op’s Ladies Night participants at the Village of Arts and Humanities, Cohen has been working with women from the North Philadelphia community that meet regularly to support one another through their experiences with re-entry and more. Every month, community activist and People’s Paper Co-op Fellow Faith Bartley invites all the women from the local community to gather for conversation, art, healing, and nonjudgmental support. Cohen has documented her experiences at Ladies Night through watercolor portraits of the participating women. Cohen shares, “It is a challenge to paint someone’s portrait, to depict the play of the emotions across a face or the gestures of a body. But it is a privilege to sit quietly with someone for a long time and attempt to capture their likeness.”

Come by on Thursday, January 28th, for a panel discussion from 6 – 8 pm, with moderator William Cromar, Cathleen Cohen, Joe Brenman, Amie Potsic, and Judy Gelles.

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Mary Mihelic: 53 Running Girls


Mary Mihelic’s Running Girls is inspired by the courage of the schoolgirls who ran for their lives and escaped from the Boko Haram terrorists in Nigeria when they attacked their school and kidnapped their classmates. On April 14, 2014, over fifty schoolgirls made that split-second decision to run for it. So the artist is creating over fifty artworks of girls running. Thirty-six are completed to date.

The term Boko Haram translated means western education is a sin and the group believes that women should not be educated; instead women should be used as cooks or sex slaves. The art reflects on war under the guise of religion, religious freedom, education for women, and global feminism.

When the series began almost two years ago, James Foley hadn’t been beheaded, the Boko Haram wasn’t allied with ISIL, Charlie Hebdo was still alive – and hundreds of thousands of people weren’t running from war and migrating to Europe. NPR recently reported (November 18, 2015) that in the last year the Boko Haram killed more people than ISIL (6,644) making it the deadliest terrorist organization in the world. The kidnapped schoolgirls still have not been found.

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T.RUMP – America on the Rag


T.RUMP – America on the Rag explores the political divisions that face and frustrate the American people as they prepare to endure another presidential election cycle. The artwork uses the bizarre realities of Donald Trump’s bullying and sexist presidential campaign to question what is really at play in the relationships between men and women in America. It also explores the bullying aspects of male-to-male culture and Trump’s xenophobic vision for America’s future.

As part of T.RUMP – America on the Rag, the anonymous artist t.Rutt bought a bus used by the Trump campaign in Iowa. This Trump bus attained notoriety when it was reported about by USA Today and The Rachel Maddow Show. t.Rutt hopes the bus and other artwork will help the American electorate to channel its frustrations with the Republican Primary in a more constructive direction.

The T.RUMP bus will be featured at Crane Arts each 2nd Thursday in February and March, also by appointment only. Please contact for scheduling.

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In ‘Fate Shifts Shapes,’ four artists dramatize the Russian compulsion to shape psychic and physical identities around inexorable social forces. As the idea excludes rationalism in favor of destiny, poet Anzhelina Polonskaya, artists Sasha Rudensky and Clemens Von Wedemeyer, and artist-curator Nicholas Muellner reject documentary realism to present theatrical depictions of individuals’ responses to the lives laid out for them.

Tracing lines of fate across contemporary Russia, Ukraine and occupied Crimea, these works articulate how vulnerable individuals like women, gay men, and economic migrants are particularly pressured to mold their identities to fit conservative cultural norms. Confronted by provocative images ranging from erotic dancers and cornered military cadets to faceless figures disappearing into landscapes, viewers will question their ideas about identity, choice, and the degree of control we really have over our lives.

Kicking off with a poetry reading by Anzhelina Polonskaya and opening reception on January 14, 2016 at PPAC, PPAC will also produce a limited edition publication of poetry and images by the artists.

Photo by Sasha Rudensky

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InLiquid Presents RedAct


Panel Discussion: Thursday, January 28, 6 – 8 pm
with moderator William Cromar, Cathleen Cohen, Joe Brenman, Amie Potsic, Judy Gelles

InLiquid presents the final installment of TangenT’s RedAct series. RedAct is a series of artworks that explores visual renderings of facts detailed in redacted public documents. Drawing from state and federal reporting on children and institutions that govern child welfare, along with redaction in its many forms, the redact series is as much a meditation on information control, privacy, truth, and the increasing vagaries of childhood in America, as much as it is about what is left behind, what we can record, see and know.

Fly Spec No. 1, the inaugural artwork in the series, designed for the Dumbo Arts Festival 2014, uses the patterns of redacted text coupled with an original soundtrack as a metaphor for disconnection of experience, falsehood and a suspension of truth. In Fly Spec No. 2 from the series RedAct, 2014, it is both an artifact of an earlier performance and mediation on recording a memory of an event. The artworks rely on intentional use of imagery and material as metaphor. The third iteration, in collaboration with InLiquid for Philly Tech Week 2015, occurred on April 23rd at the Kimmel Center. TangenT used three areas—the Cube, a screen inside the Kimmel, and a stage—where they held a second performance in their Tyvec suits – with projections of hands redacting information on their bodies, with live music and sound from Mike Brenner and percussionist Hoagey Wing. The fourth and final installment at Crane Arts will pull together these previous elements, including sound, projection, performance, artifacts from previous performances, and newly created objects, to create a completely immersed environment based on the theme of redaction. As a part of InLiquid’s Art for Action series, there will be additional public programming, including a live performance by TangenT at the opening reception and a panel discussion on art and social practice (details TBA).

Founded in 2007 by InLiquid artist members Yvonne Love, Gabrielle Russomagno, William Cromar, and Mike “Slo-Mo” Brenner, TangenT (collaborative) is dedicated to mixed-media, project-based, immersive art environments exploring socially relevant and politically current themes. Originally designed as a side project meant to explore the intersection of traditional fine art media with new media forms, their collaborative efforts over the past seven years have become an essential part of their creative lives shaping and informing their artistic endeavors.

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You Can Curate!


Finally, the moment you’ve all been waiting for….The You Can Curate! entries have been collected, and our juror, Sean Robert Fitzgerald, has selected the winner of this year’s competition. Local artist Matt Giel’s entry has been chosen to be exhibited at full scale in the Icebox Project Space. Come join us on December’s Second Thursday, the 10th, from 6 pm to 9 pm to check it out. 

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Philadelphia, PA – THE HALIDE PROJECT is pleased to announce MAKING CONTACT, an exhibition featuring the work of five artists practicing different traditional photographic techniques.

Ranging from salt prints to chromogenic prints, these images exemplify the creative breadth that is possible within the umbrella of traditional photography. In bringing this work to Philadelphia, THE HALIDE PROJECT hopes to inspire people to explore photographic processes that were developed prior to the digital era. Information on the artists and image samples can be found on the following pages.

To kick off the exhibition, there will be a champagne preview prior to the public opening, with hors d’oeuvres generously provided by Russet restaurant. Tickets will cost $25, and reservations can be made through THE HALIDE PROJECT web- site.

Throughout the month of December, there will be educational programming held in conjunction with the exhibition. Events include: A gallery talk and book signing with Vincent Feldman, where he will discuss his project City Abandoned and the public policies that have contributed to the changing face of Philadelphia neighborhoods and architecture; a large format camera workshop led by Rick Wright, where people interested in taking their photography to the next level can learn about shooting large format; and a pinhole camera-building workshop led by Stephanie Slate, where participants will create cameras out of every day objects and use them to shoot paper negatives.
Space for the workshops is limited; registration is required and can be made through THE HALIDE PROJECT website.

THE HALIDE PROJECT invites educators to arrange tours of the exhibition by contacting:
Dale Rio / / 323.481.8623

MAKING CONTACT has been generously supported by a grant from the Penn Treaty Special Services District.

Champagne preview: December 4th, 5 – 7 PM ($25, reservations required)
Opening reception: December 4th, 7 – 9 PM
Crane Building open studios: December 10th, 6 – 9 PM
Gallery talk and book signing with Vincent Feldman:
December 11th, 6 – 8 PM (free to the public) Large format camera workshop with Rick Wright:
December 12th, 12 – 4 PM ($10 materials fee, registration required) Pinhole camera workshop with Stephanie Slate:
December 13th, 12- 4 PM ($10 materials fee, registration required)

Download complete Exhibition PDF here

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You Can Curate!


Come curate with the Icebox Project Space!

From September 10th through October 3rd of 2015, the directors of the Icebox Project Space invited the public to be the curator of the Icebox Project Space. Using provided painted wooden sticks, participants “curated” a show within a scaled model of the Icebox.

Entries are to be reviewed by our juror, Sean Robert FitzGerald, a Philadelphia-based painter and one of the founders of Fjord Gallery. The chosen entry will be executed in the real Icebox for one week during December of 2015. The actual size of the Icebox is 47′ x 97′, with a 20′ ceiling. Each piece represented in the model will be a 16 foot 2″x6″ in the corresponding color.

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A World of Masks 2015


This is the season of transition and transformation.  In the spirit of Halloween and Los Dias de los Muertos, the Days of the Dead, Indigo Arts presents a collection of masks from Africa, Asia, the Americas and the Pacific.  They are masks that conceal, but may also reveal the wearer behind them. Masks are agents of celebration and transcendence, of commemoration and transformation.

The exhibit includes dance, festival and ritual masks, of wood, metal and papier maché from many countries, including Burkina Faso, Cameroon, Congo, Gabon, Guatemala, Haiti, India, Indonesia, Ivory Coast, Mali, Mexico, Nepal, New Guinea, Nigeria, Peru and Sierra Leone.

“The Mexican, whether young or old, criollo or mestizo, general or laborer or lawyer, seems to me to be a person who shuts himself away to protect himself: his face is a mask and so is his smile. In his harsh solitude, which is both barbed and courteous, everything serves him as a defense: silence and words, politeness and disdain, irony and resignation…. He builds a wall of indifference and remoteness between reality and himself, a wall that is no less impenetrable for being invisible. The Mexican is always remote, from the world and from other people. And also from himself.”
– Octavio Paz in The Labyrinth of Solitude, 1961

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RAIR 2015 Fundraiser


Join us at the Icebox for a night celebrating RAIR’s 2015 year and fundraising for what’s to come in 2016. Enjoy light fare and refreshments, meet RAIR artists, and party down with the RAIR family while supporting a great cause. There will be an exhibit of artwork by RAIR’s friends; all work will be available as part of the evening’s silent auction. Packages for experiences and items from local businesses will also be available for auction. Proceeds from the auction will directly support RAIR’s programming in 2016.

VIP: $75 (VIP Reception with artist from 6 pm-7 pm, including first look at auction with exclusive option to “Buy Now”)
General Admission: $35 (General admission from 7 pm – 10 pm, open bar)
Young Friends (under 25): $20 (General admission from 7 pm – 10 pm, one drink ticket)

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Ann-Marie LeQuesn

Ann-Marie LeQuesne

On Thursday, October 8th of 2015, the Icebox Project Space hosted Ann-Marie LeQuesne, a London-based artist who works with the public to stage collaborative performances, for a screening of her works performed this summer in Philadelphia. These films included performances of Crescendo, which she most recently executed at the Icebox Project Space in August, and Fanfare for Crossing the Road, which was recently performed on the University of Pennsylvania’s campus, as well as other works.

Crescendo responds to the acoustic and the physical space of Icebox. Participants were asked to make “structured noise” by constantly repeat initials (their own or anything they wanted to chant) as they entered the space. The sharp staccato sounds became tones that extended and mingled in the long echo of the space. Crescendo was previously performed in Sweden.

Fanfare for Crossing the Road began in London and has since been performed in Helsinki, Lisbon, Cardiff, New York, and now, Philadelphia. In each country Ann-Marie ask musicians, dressed in uniforms and positioned beside the traffic lights, to add ceremony to an everyday event: to mimic as closely as possible the digital acoustic crossing sounds (different in every country) that signal the time to cross for the blind. For the Philadelphia sound – a bird chirp – Ann-Marie used piccolos for the first time, with speakers to count down the lights.

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Old Enough to Know Better


The Women’s Caucus for Art, Philadelphia Chapter, is pleased to present Old Enough to Know Better, a group exhibition of work by women artists over the age of 35 at the Crane Arts Galleryl 05, November 4 to November 28, 2015 with an opening reception Thursday, November 12th from 6 9PM.

Juried by prominent Philadelphia based artists Eileen Neff and Diane Burko, 67 pieces were selected from over 2,000 works entered. This group of work reflects the need and desire of women to make art despite lack of feedback or support and the ongoing under-representation of women’s work in galleries and museums. The ensuing resiliency, born of stubbornness and persistence in pursuing an artistic vocation, is evident in the diverse works on view, which include paintings, sculpture, photography and video.

About the Women’s Caucus for Art: Founded in 1972 the WCA mission is to create community through art, education, and social activism. A founding member of the Feminist Art Project, WCA is part of a collaborative national initiative celebrating the Feminist Art Movement and the aesthetic, intellectual and political impact of women on the visual arts, art history, and art practice, past and present.

For more information, please contact:
The Women’s Caucus for Art, Philadelphia Chapter,
Kristin Osgood Lamelas, 856-371-9133 or Jude Lang, 484 557 9492

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PPAC: Greater Philly Photo Day Exhibition


On October 9, we asked you to help us capture 24 hours in the region on Greater Philly Photo Day. Well, you didn’t disappoint us! Transcending the boundaries of age, background, or skill level, photographers from all eleven counties shared their perspective in this day-long celebration of our collective creativity. Now, with 1,412 stunning photographs in hand, we’ve compiled each and every shot in a public exhibition running November 12, 2015 through January 2, 2016.

Can’t wait? Visit the PPAC website now to preview the online gallery, order prints, and even view a geotagged map of where photographs were shot.

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InLiquid presents xFree?


“What is freedom to you? How do you define someone who is unfree? Can a person, physically liberated, be more restricted than someone who is serving a jail sentence? Can an imprisoned person be more unconfined than someone walking around like you and me? Are we in control of our own mental space? Is it possible for us to break down years of conditioning and unlearn what we’ve picked up to create better conditions? With this collection we’re exploring those questions. A lot of the process for this series was creating pieces using masking tape that were then broken down and used to create better pieces. With this show we’ve documented a small section of our own search for the meaning and ultimately the realization of true freedom. As always, we hope you enjoy the show.”

Smashed Label is a duo consisting of brothers Crae and Corei Washington. They were raised in Bear, DE with pretty typical childhoods. They drew and painted as kids and continued to do so as they matured. They promote the message of being yourself in the midst of any and all scrutiny, ridicule and/or judgment. They speak for the people that don’t “fit in” to any particular group or category.

Their art explores the dualities in people and ideas. They experiment with perception and popular opinion, and shine a light on the positive aspects of widely perceived negative concepts and vice versa. Smashed Label has a colorful, illustrative style that often clashes with the subject matter they choose, which further demonstrates that everything has both a good and bad side that can be spun either way depending on what angle you’re viewing it from. They source inspiration from music, film, friends, family, strangers and pretty much everything. They also create in a number of mediums from graphic design, to acrylic paintings on canvas, wall murals and screen print tee shirt designs. The duo’s goal is to simply spread their art, and will continue to participate in events and functions that bring an awareness and understanding that art has the power to save lives.

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Cast By The Sun (Philadelphia)


Cast By The Sun (Philadelphia) is the second part of a two part exhibiton between Queensland College of Art and Tyler Art School academics and higher degree research students shown in Brisbane and in Philadelphia – including 32 photographers’ works.

The premise of this exhibition is to investigate the role of place in artistic practice.

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Screen Time features works by artists Asha Schechter and Sandra Vaka Olsen and is guest curated by Tina Kukielski. The work in this exhibition challenges the definition of the photographic image. Both Schechter and Vaka Olsen explore the effects of the digital screen on the process and product of contemporary image-making. In Schechter and Vaka Olsen’s work, gestures, icons, and depictions of the screen itself break free from the confines of the rectilinear form, and extend into the material world.

Traditionally, the photograph has presented a window into another reality. Today we are surrounded by screens and digital displays with our visual fields rapidly reconfigured and replaced by the many devices that occupy our world. By creating works that transform the surface of the computer screen into printed material artworks that activate three dimensions, Schechter and Vaka Olsen’s works challenge a photograph’s state of matter.

In conjunction with this exhibition, PPAC will host a screening of The Invisible Photograph on Thursday, October 1st.


Asha Schechter (b. 1979, in Sebastopol, California; lives and works in Los Angeles) For artist Asha Schechter, digitally generated 3-D images represent a new kind of image that has a separate economy from that of the photograph, with its own descriptive language, production and terms. Schechter’s work explores this new economy of images that nonetheless require specialization in their making. Schechter liberates his chosen subjects, allowing images to step outside of the screen and into our surrounding environment. In so doing, he highlights the sometimes arbitrary and sometimes functional qualities of an emerging visual vocabulary.

Sandra Vaka Olsen (b. 1980 in Stavanger, Norway; lives and works in Berlin)
For artist Sandra Vaka Olsen, chemical and technical processes contribute to the work’s creation. Vaka Olsen’s thoroughly distinct approach reverses the process of digital photography. Her digital images are first altered on screen before they take on a material form. She does this through the application of liquids directly onto her LCD screen. Later, once the distorted, pixelated image is printed, Vaka Olsen then applies analogue photographic methods to create yet another layer of gestural expression. The work is a complex blend of analogue and digital effects that express the challenges of finding a place for human touch in an increasingly automated world.


Tina Kukielski was co-curator of the 2013 Carnegie International with Daniel Baumann and Dan Byers, and served as curator of the Hillman Photography Initiative. She recently curated the exhibition Cory Arcangel: Masters (November 3, 2012–January 27, 2013). Kukielski was formerly senior curatorial assistant at the Whitney Museum of American Art where she co-organized the museum’s contemporary project series from 2007–2011. While at the Whitney, she also curated a number of group exhibitions of photography. Her publications include catalogue essays for *William Eggleston: Democratic Camera, Photography and Video, 1958–2008* (2008), Taryn Simon: An American Index of the Hidden and Unfamiliar (2008), and Gordon Matta-Clark: You Are the Measure (2007), among others. She is also a recent contributor to Mousse and The Exhibitionist.

This exhibition is made possible with support from the Royal Norwegian Consulate General and PPAC’s donors and members.

Above Image: Moving Blue Sky 1, Moving Blue Sky 2, Moving Blue Sky 3, 2013 Sandra Vaka Olsen

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InLiquid Presents: Kathleen Shaver


InLiquid presents The Structure of Chaos, a solo exhibition by artist member Kathleen Shaver, at The Hall at Crane Arts from August 13 – October 2, 2015. This show presents new works, including six large paintings exploring the contrasts and tensions between free gestural paint application and structured repeating patterns. A lush paint application and lively gestural strokes characterize her work, which often exhibits a highly textured surface and dense buildup of pigment, demonstrating the influences of abstract expressionism and neo‐expressionism.

Kathleen Shaver is a Philadelphia painter who studied at Moore College of Art & Design and the Pennsylvania Academy of the Fine Arts (PAFA) with teachers and mentors including Bill Richards, Chuck Fahlen, and Thomas Chimes. Her work has been included in a major survey of contemporary Philadelphia artists at the Philadelphia Museum of Art and in exhibits at PAFA, Woodmere Art Museum, James A. Michener Art Museum, The State Museum of Pennsylvania, and Moore. Shaver is also a graduate of the Hospital of the University of Pennsylvania School of Nursing. In 2011, she completed a permanent installation of 27 paintings, The History of Nursing as Seen Through the Lens of Art, at the University of Pennsylvania School of Nursing to celebrate 125 years of nursing at Penn.

Shaver writes about her art:
“My interest in painting focuses on the ability of paint, through gestural mark-making, texture, and color, to record the mysterious aspects of human existence and to convey what lies beyond verbal expression. The act of painting helps me to find meaning. I want my canvases to inspire others to grasp a revealed meaning and be enriched.”

Support provided in part by the Philadelphia Cultural Fund.

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STANDARD OPERATING PROCEDURE / SIGNAL GHOST / SATURNALIA will be an occupation by the Kali Yuga Zoo Brigade in the Icebox Project Space, with the objective to establish a Temporary Autonomous Zone – an exercise in scaled suzerainty.

The Brigade will compose an installation on site of various carnivalesque and ritual/performance centered spatial objects,bringing a formidable assortment of sound equipment, instruments, less-lethal weapons, tools, lights, smoke machines, costumes, semantra, and more.

The exhibition will feature in part the public debut of the WINVASION video project, to be accompanied live on the evening of Thursday the 13th by an ensemble of musicians featuring the Brigade and an assortment of invited guests who will perform a continuous improvised group sound action from approximately 7 until 10 pm.
Saturday the 22nd will feature a series of 30 minute performances / sound projects by various Philadelphia based musicians/artists in a carnival atmosphere running from approximately 2 – 10 pm. The Brigade will be conducting various actions throughout the day.


The Kali Yuga Zoo Brigade is an enthusiastic band of artist-musician-culture saboteurs – a most serious collective of prankster / activists. Formed in late 2011 in city of Quaker William Penn, to whom in part we owe our position in marginal philosophies, the Brigade is a small organization dedicated to the direct action of untrammeled creative expression. Hailing from a variety of backgrounds, individual members pursue independent enterprises but come together when opportunity arises to manifest beguiling circumstances at the confluence of art and performance in the public sphere. Having co-opted the structure of a military unit and transformed it into a vehicle of artistic action, they seek to draw even the most casual observers into our web of limitless freedom of thought and the thrilling psychic terrain it makes accessible to all. While dominant trends in contemporary art practice have skewed heavily into critical theory and practice, the Brigade engages the world and its occupants outside of hyper-intellectualized frameworks.

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The Icebox Project Space is excited to present Jesus Benavente: The Fool, a new performance piece. Jesus Benavente is a Brooklyn-based artist who, in his own words, “isn’t afraid to dream big and look stupid”, and believes that sneaky jokes and false bravado help create a network of works that test and challenge our institutions and forms. The Fool features brash performances, funny videos and physical works that build on each other to create a night of live performances that will climax into a farewell dance party for an old friend.

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2015 Philadelphia Mobile Home Rally


This August 1st will find the Icebox Project Space taken over by variety of pickup trucks and other vehicles, all transformed into works of art. The 2015 Mobile Home Rally follows in the footsteps of the popular 2012 and 2014 Philadelphia Pickup Truck Expos, and, as always, promises all of the excitement of seeing dirty, used and abused artist’s pickups, cars, or other vehicles as objects of beauty and sites for installation. This year’s entries will be judged on the concept of “Mobile Home” by jurors Timothy Belknap and Ryan McCartney, directors of the Icebox Project Space. Artists from Philadelphia and the surrounding areas will be participating in this year’s event, including Jerry Kaba, Sean Stoops, Jim Lint, John Paul Monge, Tim Eads, Tara White, Timothy Rusterholtz, Loo Bain, and Dietrich Meyer. We are also excited to have DC-based artist Calder Brannock, the founder of Camper Contemporary, join us with his 1967 Yellowstone Camper, which has been transformed into a fully functional art gallery. Camper Contemporary gallery was created as a solution for many problems a gallery faces in the modern art market, allowing the gallerist to showcase work without being tethered to a geographic location. This is sure to be an exciting–and entertaining–event, made better with the promise of beer and hot dogs; join us from 5 pm to 10 pm.

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InLiquid Presents Eric Fausnacht & Woodley White


InLiquid presents Point of Reference, featuring the work of InLiquid artist member Eric Fausnacht and guest artist Woodley White, at The Hall at Crane Arts from June 11 – August 7, 2015. The works of both artists are based around themed studies, each using careful observation and documentation to uniquely capture the familiar.

Eric Fausnacht paints portraits of domestic fowl in a contemporary/pop/baroque style. His paintings of roosters and chickens are depicted in a photo-realistic style brought together with an ornate baroque background, illuminating the regal portraiture of the subject matter. Fausnacht is a Philadelphia artist based out of Bucks County Pennsylvania, whose work is in private collections throughout the United States, Europe, Canada, and Asia. After receiving a BSE in Art Education from Millersville University of Pennsylvania, Fausnacht continued his education at the Pennsylvania Academy of the Fine Arts and The Art Institute of Philadelphia. He has exhibited throughout the region, including Muse Gallery, Hicks Gallery, Bucks County Community College/Temple University and a numerous juried exhibitions. He is also a member of the Pennsylvania Guild of Craftsmen and the Designer Craftsmen of Philadelphia.

Woodley White’s history with bottles began with purchasing colognes from vendors in the markets of Philadelphia. The experience of selecting and purchasing the fragrances in each bottle inspired Woodley to begin drawing these vessels dozens at a time. Over the years Woodley’s love for bottles has grown and developed artistically from pencil drawings on notebook paper to acrylic paintings on large canvases. Woodley continues to find new ways to express his passion for bottles and replications of other objects he values. Woodley is a member of CIS’s Outside the Frame (OTF) Studios and has exhibited work at the Philadelphia Brighter Futures Awards, Dick Blick, Fringe Salon, Swarthmore Library, and 40th St. Artists in Residence, Philadelphia. Woodley’s paintings were also featured in a solo exhibit at Halycon Floats in 2014.

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