• 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

above image: Paul Anthony Smith

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  • FJORD Gallery
  • JAN 12, 2017 - Feb 25, 2017
  • Reception: Thursday, January 12th, 6-9pm / Performance with Tim Spelios: Feb 9th at 7pm.
  • Open 12-4pm on Saturdays and by appointment

FJORD Gallery is pleased to announce the opening of SLAP-STICK, a solo exhibition of sculptures, drawings and
performance by New York-based artist and long time Philadelphia Professor Matt Freedman, on view at 1400 N.
American Street, STE 105 from January 12 – February 25 2017. This is the artist’s first solo exhibition in
Philadelphia and first with FJORD Gallery.
SLAP-STICK will feature a living inventory of the artist’s recent sculptural and drawing works. The playfully
grotesque and humorously morose stack up against one another in a precarious storeroom, inviting viewers to
inspect and connect works in unusual ways. The exhibition’s layout follows the model of Freedman’s
performative storytelling to create a kind of improvisational academy, reconfiguring elements of the past into
something completely new. In the artist’s words, “Somewhere in the mix we hope to get to something as close as
possible to a moment of truth and to a point of living contact between maker and beholder.”
Over the last decade Freedman has made a variety of works investigating the power of myth and memory in both
the personal and cultural spheres. Drawing on fables as varied as Wile E. Coyote’s unending quest for Road
Runner, the conflation of the Women’s US Open Tennis Final in 2012 with the Tennis Court Oath of 1789 and the
subsequent French Revolution’s Reign of Terror, Freedman weaves together experience and fiction in a museum
that is also an active test site.
Matt Freedman grew up in Chicago, IL and received his B.A. from Harvard and M.A./M.F.A from the University of
Iowa. He has worked as a cartoonist and long time educator at the University of Pennsylvania, mentoring
generations of artists in Philadelphia. He currently works out of his studio in Queens and has held solo exhibitions
at venues including Pierogi Gallery (Brooklyn), vertexList (Brooklyn), Studio 10 Gallery (Brooklyn), Valentine
Gallery (Queens), Flipside (Brooklyn), FiveMyles (Brooklyn), and SculptureCenter (New York). Freedman has
performed at PS1 MoMA (New York), the Brooklyn Museum, The Kitchen (New York).

More info:

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InLiquid presents Jessica Doyle

  • Crane Hall
  • February 6 – March 31
  • 2nd Thursday Receptions: February 9 6-9pm; March 9, 6-9pm (see RSVP below)
  • Wednesday-Saturday 12-6PM

We Fearless Ones / Paintings by Jessica Doyle

Jessica Doyle’s work centers on the human––engaging philosophy and spirit. Her current body of work draws from and integrates the writings of Nietzsche, in particular, The Gay Science, an influential work addressing the creation of self—what he calls “becoming what one is.” Her scholarly interests include Jung, collective consciousness, virtuality, self, identity, and Other as self.

Doyle earned her Bachelor of Fine Arts degree in Painting from Tyler School of Art, and her Master of Fine Arts degree in Painting from University of Pennsylvania, and she received her PhD in Art Theory, Philosophy, and Aesthetics with Institute for Doctoral Studies in the Visual Arts. She teaches graduate courses in Aesthetics and Philosophy with Tiffin University. Her works in drawing, painting, video, and installation have been shown nationally and internationally.


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20/92 Video Festival Call for Entries


The Icebox Project Space at Crane Arts is pleased to announce the 20/92 Video Festival Call for 2017.

The 20/92 Video Festival is a rare opportunity to exhibit your work in a gallery environment, at unique scale and format. Located in Philadelphia, PA, The Icebox Project Space is one of the largest exhibition spaces in the city at nearly 5,000 sq.ft., and has a dedicated projection system which allows for a continuous image to be cast upon its eastern wall, at a maximum size of 20’ x 92’ with a resolution of 3646 x 768. Submissions will be juried by Icebox directors Timothy Belknap and Ryan McCartney.

For the 2017 20/92 Video Festival we are accepting video entries with no category restrictions. Please keep in mind:

-Videos should be no more than 15 minutes in length

Submissions may be of any ratio format, but preference will be given to those that utilize the full 3646 x 768 resolution of the system. Common file formats are supported (mov, mp4, avi, but not flv)

-BE AWARE that acoustics in a space this large are unpredictable, and speech frequently becomes inaudible due to echo. For this reason we do not recommend submissions that are dependent on dialogue.

Works Selected for the 2017 20/92 Video Festival will be screened on the 9th, 10th and 11th of March from 12-6pm, with a reception March 9th from 6-9pm


To enter, click here

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Future Perfect


The Icebox is pleased to announce Future Perfect, an ongoing project with exhibition, performance and publication on display February 2017.

Beginning in 2015, The Icebox has collected and published a yearly manual of predictions. Each edition was comprised of submissions from our greater community, and as such each individual prediction text is a reflection of where we are, and where we are going.

DEADLINE January 30th

For 2017, we aim to gather predictions from as many participants as possible. We are moving to a more timely and accessible platform, Twitter, and invite anyone to let us know what you see ahead. All predictions submitted in 2017 will be featured on the Icebox’s official Twitter account, @IceboxProjects. Feel free to direct your predictions towards us across all social media platforms by using the hashtags #futureperfect, or email your prediction directly to us at Please keep your entry to a maximum of 420 characters (3 tweets).

In February we will line the Icebox with the text of each prediction, constructing a space from our collective thoughts. At the opening reception, February 9th, a selected group of artists will perform a prediction of their choosing from the walls, however they see fit. All predictions will also be available as a printed book, a guide for 2017. Join us in our collective fortune telling, submit as many predictions as you like, and please share with your friends. Happy new year from the Icebox Project Space!


Future Perfect

Opening Reception February 9th, 2017

Exhibition Feb 9-25th

Icebox Project Space at Crane Arts

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  • PPAC
  • December 8, 2016 - February 25, 2017.
    DECEMBER 8, 2016 / 6-8PM

Out of 180 submissions in their Annual Contemporary Photography Competition and Exhibition, the Philadelphia Photo Arts Center (PPAC) and Shane LaValette, Director of LightWork, selected two stand-out artists to showcase photographic narratives through concurrent solo exhibitions: Hannah Price and Hrvoje Slovenc. With these compelling artists shown together, they collectively send a powerful message about identity and how it is constructed internally and from the outside world. Through respective explorations of race and immigration, Hannah and Hrvoje’s photos convey meaningful perspectives on how others define us, and how we define ourselves. The two artists’ exhibitions reject stereotypical perspectives and assumed contexts. The exhibitions debut on December 8, 2016 with an artist talk and gallery walkthrough from 6-8pm. They will remain on display in the PPAC gallery through February 25, 2017.
Learn more about PPAC here!

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MEXICANISMO: Expressions of Identity

  • Indigo Arts
  • October 13, 2016 to January 28, 2017
  • Opening receptions: Second Thursday, October 13, 6 to 9pm.

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

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.

More info:

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