Still DIVIDED: An Election Party and Exhibition





Witness History Direct from Ringside at the Ice Box


November 8 – November 10, 2016

Opening Reception: November 8, 7-11pm

2nd Thursday Opening: November 10, 6-9pm


(PHILADELPHIA – November 8, 2016) The ICEBOX at the Crane Arts Building will host a unique exhibition and election viewing party featuring the work of local, national and international artists. The main event will occur Tuesday, November 8, during one of the most highly anticipated Presidential elections of our time. Beginning at 7:00pm, live feeds of the election results from multiple news sources will be projected alongside an exhibition including politically themed broadsides, newspapers, ceramics, live screen printing of posters and t-shirts, an interactive map of the United States, Zine making with The Soap Box Community Print Shop & Zine Library, live post painting by Yomi and more. Dock St. Brewery will be debuting their newest brew: Pathological Lager.


The goal of the exhibition organizers is to capture and critique the spectacle of political discourse in our media landscape. The division of the gallery into blue and red spaces will mimic and call attention to the passionately divided supporters of Republican candidate Donald Trump and Democratic candidate Hillary Clinton. From the organizers: “The Still Divided exhibition and election party seeks to mimic the tension of our two party system. Even in the midst of a ‘united’ rhetoric, we remain a divided country.”


With an admission price of $25, Attendees will receive their choice of a handmade ceramic cup, beer, games, art, music, and a chance to watch history being made with artists and citizens from the Philadelphia area. Anyone who shows up with an “I voted” sticker receives a $5 discount. Students with a current ID get the “Debt Relief” $10 discount.


STILL DIVIDED: An Election Party and Exhibition

Tuesday, November 8, 2016, 7:00pm

The Ice Box at Crane Arts

1400 N American St., Philadelphia, PA 19122

The show will remain on view through Friday, November 10.

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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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Erik Ruin’s Ominous Cloud Ensemble


Fire Museum Presents :

Erik Ruin’s Ominous Cloud Ensemble with special guest

Asimina Chremos

Saturday, July 23rd 8:00 PM
Icebox Project Space at Crane Arts
1400 N. American St

“Play Death More Sweetly”, an immersive atmosphere of largely improvised projections (including as many as 4 overhead projectors manipulated by visual artist Erik Ruin), musicians (care of his group the Ominous Cloud Ensemble) and movement (featuring dancer Asimina Chremos, perhaps more), with many performers scattered throughout the darkened space. The hour-long performance will incorporate fragments of text from Paul Celan’s iconic post-WW2 poem “Todesfuge” and exploring the themes of terror and mortality it evokes.

Erik Ruin’s Ominous Cloud Ensemble :

Erik Ruin’s Ominous Cloud Ensemble is an ever-evolving, collectively-improvising large ensemble for projections and music, led by visual artist Erik Ruin, recently lauded by the New York Times for his “spell-binding cut-paper animations.” Erik manipulates intricate paper-cuts and painted films on overhead projectors to create abstract landscapes and fragmentary scenes that are nonetheless charged with meaning, merging with music that ranges from dark atmospherics to ecstatic peaks of dissonance. Members of the ensemble include a rotating cast of Philly’s finest musicians, who have collaborated with everyone from Anthony Braxton to the Sun Ra Arkestra to Chris Forsyth to Spires That In the Sunset Rise.

Asimina Chremos:

Asimina Chremos is a dancer/artist with interest in the continua between form and flow, nature and culture, repetition and change, and discipline and pleasure. She began her artistic career as a ballet dancer and has since moved into improvisational and experimental dance, often performing with improvising musicians. Her aesthetic is also reflected in works of freeform lace crochet.

Reid Books- prepared guitar
Heru Shabaka-Ra- trumpet
Nick Millevoi- guitar
Julius Masri- electronics, percussion
Dan Blacksberg- trombone
Anna Young- vocals
DM Hotep- guitar
Lindsay Baukert- violin
Scott Verrastro- drums, percussion
Asimina Chremos- movement
Erik Ruin- projections, tapes


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