Beyond The Surface: Image As Object

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  • FEBRUARY 12 – APRIL 4, 2015
  • Opening Reception and Birthday Bash: Thursday, February 12, 6-8PM
  • Philadelphia Photo Arts Center
  • Tuesday–Saturday · 10am - 6pm & Sunday · 10am - 2pm
  • Free & Open To The Public

Philadelphia Photo Arts Center is proud to announce Beyond the Surface: Image as Object featuring works by David Kennedy Cutler, Ethan Greenbaum, and Sara Greenberger Rafferty, curated by Dan Leers.
Living in an image-saturated world, we are barraged with a constant stream of pictures and advertisements through news outlets, television, billboards, and the internet. Cutler, Greenbaum, and Rafferty co-opt mainstream media and modify it using photography combined with other techniques such as collage and sculpture. These artists explore beyond the surface meaning of everyday images and objects and draw attention to consumerist tendencies.

David Kennedy Cutler (b. 1979, lives and works in Brooklyn, NY) arranges photographs from his personal life into dizzying compositions printed on sheets of metal.  He then forms the metal into jagged sculptures that are physical representations of the virtual junk mail that fills up our inboxes.  Beyond the Surface features eight works by Cutler that explore his fascination with the human ability to process the flood of mass media that inundates society on a daily basis.

Sarah Greenberger Rafferty (b. 1978, lives and works in Brooklyn, NY) layers her own photographs with ones drawn from television and advertising to investigate body politics and gender roles.  Images of male clothing, exercise videos, and Saturday Night Live comedians are printed on plastic to emphasize their glossiness.  Viewers can see their own reflections, slightly obscured by the glare of gallery lights, when looking at Rafferty’s works.  Seventeen pieces will be included in Beyond the Surface.

Ethan Greenbaum (b. 1979, lives and works in Brooklyn, NY) uses three-dimensional printing technology to create a surface for his photographs.  These objects mimic pre-fabricated architectural elements such as wood paneling and faux-stone walls.  Greenbaum wraps the shapes with modified representations of their real-life counterparts with intentional printing glitches that distort the effect.  Greenbaum includes these mistakes in order to make viewers look closer. With nine works in the exhibition, Greenbaum invites viewers to contemplate the forms of these objects and the roles they play in consumer society.

This exhibition is made possible with support from the John S. and James L. Knight Foundation.

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Annie Daley: Roots

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  • March 12th-April 8th 2015
  • Reception: Second Thursday, March12th from 6-9pm
  • Archive Space
  • Wednesday - Saturday 12-6pm
  • Free & Open To The Public

These paper roots are documentation of a place, a moment, or an adventure in nature. They are replicas, recording a piece of memory, and are literally pieces of roots found during hikes and experiences. Farming and agriculture have deeply influenced my work. The idea of how recollections change and re-grow and then change again is a theme within this series. Plants are a very transitory and also a consistent part of life, just as our roots and past experiences. Through the process of farming I am able to connect with plants in a very intimate way, in which the imagery of this setting instructs my process and creations.

I am interested in the way memories are chronicled or logged within people’s lives through photos or video.  Within this series Roots I am exploring where I come from and where I am going using a different medium. I have explored with various media the idea of memory and how tangible and ephemeral our moments are. Photos connect memory with tangible artifacts. When we document these memories, the ephemeral meets a pause, through a snapshot of an experience. The roots are providing a similar glimpse into a moment. The question I am asking the viewer within these works is: When does the memory itself become the object?

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InLiquid Presents Anthony Vega

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  • March 12 – April 26, 2015
  • Opening: Second Thursday, March12th from 6-9pm
  • The Hall
  • Wednesday - Saturday 12-6PM
  • Free & Open To The Public

InLiquid presents Disappearing Horizon, a solo exhibition by artist member Anthony Vega. This show presents new works, including both paintings and drawings that relate to Vega’s new Instagram project. He utilizes content, scale, mark, material and color to engage and challenge our contemporary conditions, allowing the works to invite viewers to question and investigate their visual landscape in new ways.

Vega is a visual artist, educator and curator in the Philadelphia area, and he is represented by LG Tripp Gallery (Philadelphia). His undergraduate work was completed at Saint Joseph’s University, where he studied fine art and philosophy, and his Master of Fine Arts degree was received from the University of Delaware. 

He is currently adjunct faculty at the University of Delaware, teaching studio courses, contemporary art theory and media studies as well as adjunct faculty at Penn State Brandywine teaching drawing and painting courses. Previously, Vega was the director of the University of Delaware Philadelphia gallery, UD@Crane, in the Crane Arts building. Vega’s work is exhibited in galleries, museums and other venues regionally and nationally.

Vega writes about his art:
“The main interests in my practice lie in my fascination with the translation of language and image in the digital age. My work is an exploration of my relationship to culture, interpretation, and how we apply meaning personally and socially.”

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Radical Romanticism

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  • March 12th –April 3rd 2015
  • Opening: Second Thursday, March12th from 6-9pm
  • Gallery 105
  • Wednesday - Saturday 12-5pm
  • Free & Open To The Public

This exhibition of paintings, prints and video from artists from the Queensland College of Art considers anew the experience of the everyday.

Curator Susan OSTLING brings together works of Australian artists Christopher BENNIE, Julie FRAGAR, Bob MERCER and Jenny WATSON to reconsider the contemporary aesthetic of the everyday. It is in capturing the fleeting, the overlooked or the remembered, or focusing on the ever-present or a chance encounter, that a radical romantic underpinning is detected.

These artists’ work can be seen to be imbued with a yearning for a distant past, a search for a freer world, a pursuit of a dream or a desire for a different future. As writers on Romanticism note, this search can take many forms – in the imaginary or the real, for the here and now, or for the future.

For Christopher Bennie, a romantic gesture can be seen in the way he conflates the imaginary and the real. An underground supermarket car park has flocks of birds seeking nightly refuge. Why does Bennie’s camera follow them around? Is he mysteriously drawn to them? Do the birds bring a sense of the natural world into this post-industrial place, or are they a form of foreboding?

Julie Fragar says that her prints and paintings are her means of dealing with the slippery nature of reality, of working out what is real and unreal. Ironically, this occurs through an art-making process that is in itself she says, “pure fabrication”. Fragar says she often feels slightly removed from ‘the real’ and her work is a search to grasp and engage with what can be said to be the really real. An aspect of romantic restlessness is to seek to transform oneself. Fragar handles in her prints and paintings this grasp for a clearer view of oneself, to know more even for a fraction of a second.

Robert Mercer takes a serious interest in what is generally overlooked. He doesn’t necessarily seek subject matter to photograph or video; he comes upon it as he goes about his day-to-day life. In this exhibition, the video work is drawn from what Mercer happened to notice through his window while visiting Fort Kochi, India on New Year’s Eve 2014. He becomes privy to a whole family narrative that for Western viewers speaks of a time and place well before modern capitalism. On the other hand, equally, it could be Mercer’s desire for a new future.

Jenny Watson’s paintings are imbued with intensity. They are sketchily rendered as if being painted before us and so, not quite finished. Time is always present, but only as a memory. Watson draws from her own life as an artist, “a girl in a hurry” as she says. While the romantic impulse of these works is clear, what makes them so memorable is the flip they cause us to take from the imaginary into the real. This occurs through the material presence of the surfaces on which Watson paints: damask, cotton, satin, or organza overlay.

These artists’ works cause us to rethink the way contemporary ideas of the everyday turn on a certain thread of romanticism. Henri Lefebvre, writing in the 1970s about the everyday, comments that all forms of romanticism are based on “dissention, doubling and tearing apart”. These are deeply felt concepts—and all to be found within these artists’ works.

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PRINTS + PROCESS: Kip Deeds the “Alasktic” Series

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  • March 12th - April 4th, 2015
  • Reception: Thursday, March 12th, 6 PM to 9 PM
  • Second State Press
  • Free & Open To The Public

Second State Press is pleased to present “Alasktic” by Kip Deeds as the most recent exhibition in our Prints + Process series. Prints + Process takes a look inside the process of completing a print project. Process could include prints, drawings, proofs, films, and hand written notes… some that represent substantive changes in direction, others that don’t.

In Kips Words:
/The “Alasktic” series of prints are about travel between extremes (e.g. temperature, geography, culture). With some reflection, I know that the process of making these prints was also about dealing with itinerant circumstances. Preparatory drawings and prints were made in a number of different places including Pennsylvania, New Jersey, Michigan, Washington D.C., and Washington State. It is as if, instead of having many luxuries, I was only allowed to carry a backpack and a pocket knife. Limitations led to a certain crisp economy, each print process exists in a distinct place on the page. While a great territory was explored, pacing was considered and necessary energy was conserved so that an arrival at a distant destination and a point of completion was met. /

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