2017 FOB Exhibition

  • Second State Press
  • July 13 - TBD, 2017
  • Second Thursday Reception: July 13th 2017, 6pm - 9pm

Featuring the artwork of the 2017 Second State Press Fob Holders.

SSP Shop Orientations
Every Second Thursday from 6pm-9pm

It’s always difficult to start in a new shop and get your printing flow. Different equipment, new people, and where the heck is the tarleton anyway?! SSP wants to make it easier for you to get started and get printing. Every Second Thursday, Second State Press will hold shop orientations for members. All are welcome to attend each month.
Also be sure to check out The Quarter Sheet Challenge a revolving exhibition of shop members’ work for which the only restriction is that the 2 pieces must be 15″ x 11″.

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

Learn more about SSP here!

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Sense of Place

  • Spillway
  • July 13 - August 5, 2017
  • Second Thursday Reception: July 13th 2017, 6pm - 9pm

Spillway Collective presents Sense of Place, an exhibition curated by Mark Basco, featuring works by three Philadelphia artists: Max Budnick, Kathryn Vaughan, and Kenneth Winterschladen. These three artists extract and translate elements of their surroundings into bodies of work, inviting viewers to exercise mindfulness in their own daily routines.

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

Learn more about Spillway Collective here!

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  • Fjord
  • June 16 - July 20, 2017
  • Second Thursday Reception: July 13th 2017, 6pm - 9pm

Fjord Gallery is pleased to present the group exhibition Jump Cut, featuring work by Tony Bragg, Lyla Duey, Jacob Feige, Sarah Kaufman, Erin Murray, Tim Portlock, Paul Rouphail, and Justin Webb. In their inventive representations of domestic, architectural, and landscape subjects, the eight image-makers on display employ direct observation and degrees of speculative manipulation in the creation of paintings, drawings, photographs, and digital renderings. They address perceptual mechanics with shared penchants for stillness, ambiance, and unresolved narrative. The artists here are particularly attentive to the capacity of the camera, computer, pencil, and brush to render illusory light, resulting in a collection of work that rewards slow looking and elicits cinematic resonance.

Learn more about Fjord here!

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2017 PPAC Members’ Exhibition

  • PPAC
  • July 13 - August 26, 2017
  • Second Thursday Reception: July 13th 2017, 6pm - 9pm

The Philadelphia Photo Arts Center hosts the 2017 Members’ Exhibition to celebrate the talent our diverse and passionate community, This annual survey of regional photographers showcases a diverse collection of photographic themes and genres.

Photo by John L. Stritzinger

Learn more about Philadelphia Photo Arts Center here!

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WP Galiczynski: Urban Artist

  • June 8 - July 28, 2017
  • Second Thursday Receptions: June 8, 2017 & July 13, 2017 from 6-9pm
  • Wednesday - Saturday 12-6pm

WP Galiczynski’s Urban Artist is the first exhibition in our Changing Philadelphia series, comprised of three solo exhibitions featuring artwork about Philadelphia neighborhoods. The artists have been deeply established in their environment for years, or their whole lives. Each body of work is a visual record of the artist’s reaction to and contemplation of the character, life, and transformation of a particular place over time.

Artist member WP Galiczynski’s paintings are inspired by his life and experiences growing up in Olde Kensington, where he still lives today. They are a humorous look at everyday scenes in his community, and depict a sarcastically slanted view of growing up in an urban environment. Galiczynski creates large, framed canvas works, most often acrylic based, drawing out the depth and texture of the painting to complement the compelling images of Philadelphia’s intensity and rawness.

* The InLiquid Hall Gallery is located on the 1st floor of Crane Arts in the hallway to PPAC

Learn more about WP Galiczynski here! / Learn more about InLiquid here!

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People Making Pictures of Other People who Move Other People’s Shit

  • Tenant Gallery
  • June 8 - July 29, 2017
  • Second Thursday Reception: June 8th, 6pm - 9pm
  • Wednesday - Saturday, noon - 6pm


Charlie Brooks, Dan Paquet and Jeremy Smith are local artists who also work together for Old City Movers. The common thread weaving their work lives and artistic pursuits together is the “menagerie” of creative personalities that they work with on a daily basis. This show is a testament to that.

Have Charlie, Dan, and Jeremy move your sh*t!

Listen to Jeremy’s band Trash Beach / Listen to Charlie’s band, The Louds

* 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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Time Camp 001: Call for Proposals

time camp proposal

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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Andes/Amazon: Two Worlds in Peruvian Folk Art

  • 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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