PAULA CAHILL Progression

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  • Tenant Gallery
  • April 13 - May 28, 2017
  • Second Thursday Reception: May 11th, 6pm - 9pm
  • Hours: Wednesday - Saturday,  noon - 6pm

Paula Cahill – a graduate of Tyler School of Art Temple University and the Pennsylvania Academy of Fine Arts – is a tenant at Crane Old School in Philadelphia. She calls her studio a fortress, her kingdom, and has been known to paint for hours on end well into the next morning. 

Of the works in Progression, Paula says, “(The) compositions are often created with a single, continuous line that meanders, layers, changes color, moves backward, forward, or connects back to the beginning. Advancing through the painting process is a contemplative,
immersive process for me and I wish the viewer their own momentary immersion as they progress through the composition.”

The Crane Arts & Crane Old School Tenant Gallery is located in the main lobby of Crane Arts (right across from Indigo Arts Gallery!) 

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Prints and Process works by Sibyline Window

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  • Second State Press
  • May 11th - TBA, 2017
  • Second Thursday Reception: May 11th 2017, 6pm - 9pm

SSP is pleased to offer the CRE Fellowship to the printmaking community.  Each summer the studio will host an artist whose work demonstrates an uncommon grasp of the printmaking medium and an energetic approach that will likely influence future printmakers. SSP is now accepting applications for 2017 CRE Fellowship! DEADLINE: Monday, May 22nd. Apply HERE

Second State Press is in 103B (in the basement of Crane Arts… enter through lobby)

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Behind & Before a group exhibition

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  • Spillway Collective
  • May 11 - 27, 2017
  • Second Thursday Reception: May 11th 2017, 6pm - 9pm

Spillway Collective presents Behind and Before. By creating a personal “altar”, each artist creates a microcosm of comfort and familiarity previously kept private. These collections of personal effects can serve as both the artists’ interpretations of adoration as well as an insight into the inspirational process that happens behind their polished works. This exhibition transforms Spillway’s gallery into a sanctuary for eight of its members, providing an intimate look into the collections and rituals that guide them in the making process. 

Mark Basco
Jenny Clay
Justine Ditto
Sean Hildreth
Shannon Moriarty
Krista Profitt
Allison Sims 
Megan Webb

Spillway is located in studio 100B, down the hallway to the left of the Icebox entry hall

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Time Camp 001: Call for Proposals

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Deadline: Tuesday June 20th, 2017

In collaboration with Icebox Project Space , Time Camp 001 is a two-day program and interactive installation exploring time, alternative temporalities, time travel, and temporal shifts, with activities include temporal sound design, time walks, temporal scavenger hunts, zinemaking, special performances, and more. Time Camp 001 will take place at the space-time point of September 30-Oct 1, 2017 at Icebox Project Space (Phila, PA). More details soon.

We are inviting submissions for workshops and lectures, as well as art-based submissions for inclusion in the installation.

Workshop and Lecture Submission Information
Seeking abstracts and proposals for 45 and 60 minute workshops and lectures for presentation at Time Camp. Please identify any audio/visual and electrical needs for your presentation. Also include presenter information and website if available. Please submit a proposal for your submission to afrofuturistaffair@gmail.com by June 20, 2017.

Sample topics include:
Time Travel Theories/Time Travel 101
Time Machine Design
Time Travel in Comics

Installation Submission information
Seeking submissions of small installations, film, audio/video, literature, photography, objects, and art pieces dealing with time travel, such as personal time machines and devices and time travel artifacts. Works can be individual or collaborative, and should be experimental. Proposals should include a description of your project or piece, including dimensions, sizes, number, and other specifications. Please identify any audio/visual and electrical needs. Also include artist information and website if available. Please submit a proposal for your submission to afrofuturistaffair@gmail.com by June 20, 2017.

For more information please contact afrofuturistaffair@gmail.com

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Time in Dreams is Frozen

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PennMFA Thesis exhibition
Time in Dreams is Frozen

May 11–28, 2017

Opening Reception: May 11, 6–9pm

 Icebox Project Space
Crane Arts Building
1400 N American Street
19122-3803 Philadelphia, PA
Hours: Wednesday–Saturday noon–6pm
www.design.upenn.edu

The University of Pennsylvania’s 2017 graduating class of Master of Fine Arts students will present their thesis exhibition in the Icebox Project Space of the Crane Arts Building in Philadelphia. The exhibition represents the culmination of two years’ study at Penn and will be curated by Creative Time artistic director Nato Thompson. During their time at Penn, students have developed a diverse body of work that speaks of their subject positions as young artists living in a world of flux. In various sub-groupings, they also partook in trips abroad including Havana, Dubai, Paris, Lugo (Italy), Rome, and Skowhegan that challenged their self-understanding in and of the world.

 

PennMFA Thesis exhibition artists
Joshua Beaver, Lindsay Buchman, Laura Carlson, Danielle Cartier, Gwendolyn Comings, Sharla Dyess, Casey Egner, Aimee Gilmore, Yaochi Jin, Jeremy Jirsa, Christopher Richards, Asha Sheshadri, Alexandra Snowden, Rebecca Tennenbaum and Ji Won Woo

 

Exhibition curator Nato Thompson is the Artistic Director for Creative Time. Since 2007, Thompson has organized such major Creative Time projects as The Creative Time Summit (2009–2015), Pedro Reyes’ Doomocracy (2016), Kara Walker’s A Subtlety (2014), Living as Form (2011), Trevor Paglen’s The Last Pictures (2012), Paul Ramírez Jonas’s Key to the City (2010), Jeremy Deller’s It is What it is (2009, with New Museum curators Laura Hoptman and Amy Mackie), Democracy in America: The National Campaign (2008), and Paul Chan’s Waiting for Godot in New Orleans (2007), among others. Previously, he worked as Curator at MASS MoCA, where he completed numerous large-scale exhibitions, including The Interventionists: Art in the Social Sphere (2004), with a catalogue distributed by MIT Press. His writings have appeared in numerous publications, BookForumFriezeArtforumThird Text, and Huffington Post among them. In 2005, he received the Art Journal Award for distinguished writing. For Independent Curators International, Thompson curated the exhibition Experimental Geography with a book available from Melville House Publishing. His has written two books of cultural criticism, Seeing Power: Art and Activism in the 21st Century (2015) and Culture as Weapon: The Art of Influence in Everyday Life to be published in January 2017.

 

Penn MFA program
The Master of Fine Arts program at Penn is focused on the professional development of visual artists. Through workshops, seminar courses, international residency opportunities and interactions with curators, writers and artists, the program provides an open intellectual framework to foster independent methods of artistic research. In addition to seminars within the Fine Arts department, graduate students are encouraged to pursue topics of science and the humanities through an impressive selection of courses offered across the university.

 

For program inquires, contact: mfa@design.upenn.edu or T (215) 898 8374

 

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to chance, to wander

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  • Fjord
  • April 13th - May 27th
  • Reception: 6-9pm Thursday April 13th / Wandering Tours: 9:30am April 15th, 5:30 April 23rd, 9:30am May 6th & 5:30pm May 21st / Interactive Board Game Happening with Paula Salas May 27th
  • Open Saturdays from 12pm - 4pm
    and by appointment

​FJORD Gallery is pleased to announce upcoming group show, To Chance To Wander including American artists Joe Bochynski, Anthony Bowers, Helen Mirra, Theo Mullen III, Asha Sheshadri, and artists from Santiago, Chile: Manuela Flores, Rafael Guendelman, Paz Ortuzar, Pablo Rivera, Paula Salas.

What does it mean to get lost, now?

Chances are, it means that your phone is dead. Modernity’s penchant for busy-ness has finally merged with Google Maps to swallow up our experience of time and place. Opportunity cost is as ever-present as our over determined calendars, collapsing the value of unstructured time spent in unknown spaces. Even escape to the unknown has become increasingly difficult as we are rerouted by our phones towards some inevitable destination, with any detours Yelped to ensure the worthiness of the stop.

The artists in To Chance To Wander are searching for an antidote, however brief and innocuous. Through sculpture, performance, collaboration, film, board games, painting, prose, and print we are searching for the sense of wonder that wandering can restore, coming from perspectives that cross languages, cultures, and our American continents.

As Rebecca Solnit put it in her book, Field Guide to Getting Lost, when “you get lost… the world has become larger than your knowledge of it.” As artists search for that infinite feeling of possibility, they address also the edges and dangers of lostness; the risk that your belonging will be questioned, that your person and senses will be overwhelmed, or that profundity will melt into the mundane.

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InLiquid Presents Melinda Steffy

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  • The Hall
  • April 13 – May 28, 2017
  • Thursday Receptions: April 13, 6-9pm; May 11 6-9pm
  • Wed-Sat noon-6pm

Melinda Steffy: The Score Is Not The Music

“The maxim ‘the score is not the music’ suggests that music notation printed on a page is a poor substitute for the sound of the music itself. Printed notes are sterile, an alphabet that allows a musician to produce the right pitches, but which must be interpreted and expanded to be meaningful. If the score—a visual tool—lacks some necessary quality of the music, how else might music be visually conveyed that might better capture its essence?”  – Melinda Steffy

Steffy’s current work looks to answer this question by re-interpreting music as color patterns, exploring ideas of translation, how music theory and color theory intersect, and what it’s like to have a song stuck in your head. In this series of work, she has matched the 12 notes of the chromatic scale with 12 hues on a color wheel. Using mathematical constructs like grids and pie charts, she translates masterworks by composers J.S. Bach and Béla Bartók into vibrant color patterns. The music, usually time-based and heard in sequence, becomes spatial, able to be seen all at once. Unexpected patterns emerge, revealing the complexity inherent in the music.

Steffy received an MFA in Painting from The University of the Arts and a BA from Eastern Mennonite University. Her artwork has been on display at Rowan University, the Shenandoah Valley Bach Festival, Crane Arts, Fringe Wilmington, Sam Quinn Gallery, Villanova University, Finlandia University, Delaware Center for Contemporary Art, Lancaster Museum of Art, Micro Museum, and Stamford Art Association, among others.

More Info: http://inliquid.org/happenings/inliquid-projects/crane-hall/the-score-is-not-the-music-crane-hall/

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Retablos from Ayacucho & Shipibo/Conibo Textiles from the Amazon Basin

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  • Indigo Arts
  • March 9, 2017 to June 30, 2017
  • Opening reception: Second Thursday, March 9, 6 to 9pm.

  • Gallery Hours: Wednesday through Saturday, 12 to 6pm.


Andes/Amazon: Two Worlds in Peruvian Folk Art looks at two distinct contemporary folk arts in two regions of Peru: the portable retablo shrines, originally from highland Ayacucho and the patterned textiles and ceramics of the Shipibo/Conibo peoples of the Amazon basin. Both are arts in transition. From deep traditional roots they are adapting to new materials and influences and being both enriched and impoverished in the process.

The traditional Peruvian retablo is a portable shrine or nicho that holds figures sculpted of pasta (a mixture of plaster and potato) or maguey cactus wood. The making of retablos is a folk art whose roots go back to the sixteenth century in the Andes (and even to the Greeks and Romans before that). While the art’s origins are religious, the contemporary Peruvian retablos exhibited at Indigo Arts range from the sacred to the profane. Claudio Jimenez Quispé is the acknowledged master of the Peruvian retablo. He and his family are heirs to a multi-generation artistic tradition in the highland region of Ayacucho. Most of the family moved to Lima during the brutal civil war of the 1980’s and early 1990’s, which pitted a violent revolutionary group, the Sendero Luminoso (Shining Path) against equally ruthless government forces. The peasants caught in the middle suffered the deaths or disappearances of some 70,000 people in this period. The effect on the retablo art form was profound. New narratives of social strife and civil war entered the artists’ repertoire. Many contemporary retablos reflect an exposure to the urban world of Lima and beyond, not to mention a response to a world-wide market for folk art. Some of the recent work shows strong influences of Mexican folk art, including scenes of death and the underworld that celebrate the Dias de los Muertos (Days of the Dead) holidays.

The Shipibo-Conibo are an indigenous people (currently numbering only about 20,000) who live along the Ucayali river in the Amazon basin east of the Andes. Though an increasing portion of the Shipibo population have been urbanized in settlements such as Pucallpa, their traditions remain strong, as expressed in their shamanistic religion and in their visionary arts – notably in the patterns that the Shipibo women paint on their pottery, clothing, textiles and their bodies. The ethnologist Angelika Gebhart-Sayer terms their art “visual music”.

The Shipibo are known for labyrinthine geometric designs that reflect their culture and their cosmology. The main elements of the designs are the square, the rhombus, the octagon and the cross, which “represents the southern Cross constellation which dominates the night sky and divides the cosmos into four quadrants…”* Other symbols featured in the designs are the Cosmic Serpent, the Anaconda and various plant forms, notably the caapi vine used in the preparation of the sacramental drug Ayahuasca. There is an intriguing tie between the visual and aural in Shipibo art: “ the Shipibo can listen to a song or chant by looking at the designs, and inversely paint a pattern by listening to a song…”*

The designs are traditionally drawn with natural huito berry pigments on hand-woven cotton fabrics that are worn as wrap-around skirts. The fabric is either natural or dyed with a red-brown dye made from mahogany bark. Today most of the fabric is machine-woven, purchased from traders, and increasingly the hand-drawn designs are supplemented with patterns embroidered with bright-colored commercial yarns. The results can be stunning. The truly psychedelic color combinations are consistent with ayahuasca visions. More often than not the designs are asymmetrical within a border or frame – like a landscape viewed through an airplane window: “Although in our cultural paradigm we perceive that the geometric patterns are bound within the border of the textile or ceramic vessel, to the Shipibo the patterns extend far beyond these borders and permeate the entire world.”* (*Howard G. Charing)

More Info: http://indigoarts.com/exhibitions/andesamazon-two-worlds-peruvian-folk-art

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Interference

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  • PPAC
  • March 9 — May 20, 2017
  • Opening Reception & Artists Talk: March 9, 2017 / 6-8pm
  • Tuesday–Saturday · 10am - 6pm

Interference presents the work of Andre Bradley and Paul Anthony Smith, two artists who deal with relationships between personal experience and the social forces that shape our perceptions of self, others, and the world around us. Using distinct but related artistic means, Bradley and Smith explore experiences of selfhood and community as inseparable from the stereotypes and violence that pervade representation of black people.

This exhibition has been made possible with the generous support of the Andy Warhol Foundation for the Visual Arts.
More info at http://www.philaphotoarts.org/event/interference/

above image: Paul Anthony Smith

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