Cast By The Sun (Philadelphia)

  • Thursday, September 10th - Saturday September 26, 2015
  • Reception: Thursday, September 10th. 6-9PM
  • Crane International Project Space (Gallery 105)
  • Wednesday-Saturday, 12-6PM
  • Free & Open To The Public

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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  • September 10th – November 7th, 2015
  • Reception: Thursday, Sept. 10th, 6-8PM / Artist & Curator Walk Through: 5:30-6:00PM
  • PPAC
  • Hours: Tuesday–Saturday · 10am - 6pm
  • Free & Open To The Public

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

  • August 13 – October 2, 2015
  • Second Thursday receptions: August 13 & September 10, 6-9pm
  • The Hall
  • Wednesday-Saturday 12-6PM
  • Free & Open To The Public

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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