Warren Angle died Friday
We are sad to bring you the news that Warren Angle passed away on Friday, September 9 after a long battle with cancer. Angle, an artist, was the exhibitions director of the Fleisher Art Memorial for many years. He will certainly be missed by many.  There’s a Facebook page set up as a memorial for Warren.

John Vick is juror for New Wilmington Art Association show

Kim Faler, "Slack Tide", 2011, latex paint, paper, wood, clothing and bananas, dimensions variable. Photo courtesy of the artist.

Former artblog writer and co-founder of Art Workers Resource Group John Vick was the juror for the New Wilmington Art Association‘s current show RSVP 2011. The exhibit showcases 20 artists in a variety of mediums and runs from First Friday, September 9 to October 20.

Print Center hosts lecture by Wooster Collective founders
There is a lot going on these days at The Print Center. Of particular interest is the upcoming lecture by NYC’s Wooster Collective co-founders Marc and Sara Schiller. The topic of the lecture is the complex and controversial relationship between street art and graphic design/marketing. The free lecture takes place on October 14 at 6 PM.

Temple presents 9/11 Moments of Silence
Throughout September the Temple Gallery will be filled with recorded moments of silence from public and private events in commemoration of September 11, 2001. Gathered from newsreels, libraries, and the internet, these moments express a nation’s quiet remembrance and solidarity.

CofFREE Mondays at Temple
The Temple Gallery is also holding CofFREE Mondays starting September 12. Stop by the gallery from 7:45 – 9:45 AM for free coffee and the lowdown on cultural events at the university and around the city. Special guest lectures will also be on the agenda from time to time.

Opposites Attract at UArts

The Blind Tongue by James Fuhrman and Mark Warhol.

Starting September 6 as part of the Philadelphia Sculptor’s exhibit Opposites Attract: Collaborative Installations at University of the Arts, sculptor James Fuhrman and composer Mark Warhol present “The Blind Tongue”, a sculptural installation with video projections of an opera performance. The exhibition will be on display through October 13.

New online publication Hidden City Daily launches

Hidden City Daily, a new Philadelphia arts and culture publication affiliated with Thadeus Squire’s Hidden City project, has just gotten underway. They have a lot of picture-rich coverage of arts and culture and info on some of the more off-the-beaten-track locales around the city. One of the co-editors, Nathaniel Popkin, says the Hidden City Daily is geared up to be a hub of informed, reflective and innovative thinking about the city. It will be very interesting to see how Hidden City progresses in the near future.

Michael Rees lecture at Haverford College
Artist Michael Rees will hold a lecture on September 26 from 4:30 – 6 PM at Haverford College. Rees operates at the intersection of biology, art, and 3D rendering and will be hosting a workshop earlier in the day. If you have an interest in 3D art, sculpture, or contemporary art, this is definitely worth checking out!

Madelyn Roehrig Conversations with Andy

Madelyn Roehrig, Conversations with Andy.

For the past two years friend of Libby and Roberta’s, Madelyn Roehrig, has been videotaping individuals visiting the tombstone of Andy Warhol. Her project will be part of Pittsburgh’s Biennial at the Warhol Museum opening Sept-17 and running to Jan 8, 2012.  Also in the show are photos by LaToya Ruby Frazier and work by Dara Birnbaum. So far Roehrig has taped over 200 individuals with a range of insights and whimsical observations. Follow her project “Figments: Conversations with Andy” on its Facebook page.

Sprint 3D video
It may be a commercial for a phone company, but it’s also pretty fantastical! Check out Sprint’s recent 3D “flash art” video (or in 2D) in which park goers get accosted by  swarms of massive bubbles.

Met finds its funny bone

The Head Ache, a print after George Cruikshank by Enrique Chagoya.

The Metropolitan Museum of Art will be display works of humor, satire, and caricature in its newest show Infinite Jest. Works range from the Italian Renaissance to present day and offer a wide spectrum of satirical and comical work. The exhibition starts on September 13 and runs until March, so you have plenty of time to catch a few laughs.  One of the featured works is Enrique Chagoya’s “The Head Ache,” a print made when the artist was in residence at the Rosenbach Museum and Library.

Freeman’s Auctioneers record sale
Freeman’s Auctioneers had a record sale of a Chinese imperial-style double dragon white jade seal for $3.5 million. This creates a record for the highest-selling single lot and most successful sale of the company.

Opportunities

There’s an opportunities page set up on the Bartol Foundation website announcing teaching opportunities available to teaching artists. A few groups are seeking requests for proposals and teachers. Check out the details here.

Artist News

Gabe Martinez, "Lemon", 2011, archival inkjet print, 30 x 30 inches (76 x 76 cm

Pew Fellow and UPenn factulty member Gabe Martinez has a show dealing with gay male sexual identity at Samsøn in Boston from September 9 – October 15.

Huston Ripley, "Untitled", 2008, # 8XL1: Ink on Japanese paper: 25" x 19"

Huston Ripley will be displaying drawings at the Adam Baumgold Gallery in New York from September 8 – October 8.

In July, the Woodmere Museum acquired one of Doug Witmer‘s 2008 paintings “How Soon is Too Soon?” for their permanent collection.

Three former Philadelphia area artists – Jesse Greenberg, Nick Paparone, and Walter Benjamin Smith – will have work at the Socrates Sculpture Park on Long Island. Paparone’s solo show also opened at Fleisher-Ollman on September 8.

Dave Kim‘s recently completed project My Best Friend Facebook Forever has a website called My Best Friend Facebook Forever. My BFFF was a month-long performance/experiment where Kim did everything he was asked to do via Facebook.

Julie Courtney and Jennie Shanker will soon be completing their collaborative curatorial project CENTERpieces, affiliated with the Center for Discovery in upstate New York. Stay-tuned for an upcoming event for artist Richard Torchia’s work in one of the center’s geodesic domes.

“Vox V,” the national juried emerging art show, demonstrates that childhood memories, loss and sadness – themes at play in the art world for at least fifteen years — are still major obsessions.

Steve Cossman's Macbook animated portrait of Carrie Collins in Vox V

Selected and organized by Cerealart founder Larry Mangel and video artist Ryan Trecartin — featured this summer at the Fabric Workshop and Museum and in the New Museum’s Younger than Jesus show — Vox V continues to be “the” big emerging artist show in Philadelphia, drawing from both coasts and places in between. This is the fifth year Vox Populi has put out the call and the group received more than 400 applications from which Trecartin and Mangel selected around 100 works by 51 artists.

Cossman's animated portrait of Emily Glaubinger

The high point for me in a show with much solid work is Steve Cossman’s animated video portraits of local clothes designer Carrie Collins and artist Emily Glaubinger. The portraits—shown on two small Macbooks—look like paintings. From a distance you might think they were photos of two painted images. Up close you see that Carrie and Emily’s pupils are spinning like tumbling balls in the lottery wheel; their lips are twitching, and nothing at all is still. Art world gurus keep waiting for a breakthrough moment in painting. Well this feels like it, the moment where painting embraces new media and vice versa. I am very excited.

Elsewhere, video and sculpture look impressive in this sprawling show. There’s not a theme to the show but the overwhelming spirit in the gallery is of “dress up,” fantasy, and shrug-shouldered resignation. Photos by Jennifer Layzer of Barbie Dolls dressed as wrathful Salem witch hunters embody this spirit.

Jesse Greenberg's trash moderne altar piece.

Tyler Kline’s dangling tin-foil skulls adorned with black feather boas and headdresses greet you in the lobby and perfectly evoke thoughts of witches, goblins and Day of the Dead festivities. Elsewhere, Jesse Greenberg’s bauble-encrusted altar—made with what looks like decorated trash and a few dim lightbulbs—channels American culture’s current obsession with home decor and nesting. Call it Trash Moderne, Greenberg’s aesthetic would look great in an apartment makeover show on Bravo. It’s an artier shabby chic and a perfect counterpoint to the pervasive domestic landscape of sleek, cheap Ikea throw-aways.

Leslie Rogers video, Blood, Rest, Void

Leslie Rogers’ video “Blood, Rest, Void” suggests a world of aliens among us. And Jonathan Monaghan’s beautiful, odd and compelling 3-D animation “Into Temptation” merges the animal and the architectural and surpasses Matthew Barney for satisfying non-narrative storytelling.  See the video at his website.

Jonathan Monaghan, Into Temptation, 3-D animation

We live with ongoing wars and a looming eco-disaster and art is a reflection of those themes. What’s new here, especially in the videos by Cossman, Monaghan and Rogers, is the savvy technological package that delivers the message.

Something about Matthew Savitsky's twisted, Picasso-esque figure is fresh and intriguing

“Vox V”: Through Aug. 2. Vox Populi, 319A N. 11th St., third fl. 215.238.1236.

Italy to Cyprus by way of L.A.

Nadia Hironaka and Matthew Suib, The Soft Epic, video still. click to see it bigger.

Nadia Hironaka and Matthew Suib go global this summer. (See a clip of their video Soft Epic on their Soft Epic website, a piece so epic it gets a site of its own!) See their works  here:

Pesaro, Italy, June 13th-28th
Moscow, June 22nd and 23rd

Los Angeles, July 11th-mid August

New York, NY, July 28th,

and Nicosia, Cyprus, Sept. 3

Boston

Alex Da Corte, Serge and Bacchus

Look for Philly alum Alex Da Corte’s Casual Luxury ultra-exhibit in New England! Now there’s a culture confrontation!
LaMontagne Gallery
June 18th to July 31st

Greensboro, NC.

Eileen Neff, photo from her show at Weatherspoon Museum

Eileen Neff is showing selected work from the last 10 years in her museum exhibit Eileen Neff: Photographs!  Are they real or are they art? Greensboro, check it out!
Weatherspoon Museum of Art
May 24,  2009  – August 16,  2009

Harrisburg

Sarah Gamble, painting that's in the Art of the State exhibit in Harrisburg

Mind-boggling: 157 works of art by 798 Pennsylvania artists, selected for more than 2,000 entries.

A shout-out to Matt Pruden for this breaking news about the Art of the State.
Here’s a selection of artists we’ve written about from some of the 66 artists from the Philadelphia area.
Arden Bendler Browning
Nanette Acker Clark
Dominic Episcopo
Sarah Gamble
Ed Bing Lee
Lisa Murch
Matthew Pruden
Kate Stewart
Ben Volta
Kip Deeds
Csilla Sadloch

Art of the State, June 27 – September 20
The State Museum of Pennsylvania

New York, NY

Adam Parker Smith, untitled plane crash

Adam Parker Smith  in A Greek Play with a Main Character Named Oblivious (Parker Smith is a Philly alum).

Priska C. Juschka Fine Art

June 23 – July 31, 2009
Opening Reception: Tuesday, June 23, 2009 6 – 9 PM

Jesse A. Greenberg, Invitation Station Arch 1, 2008, Plastic, foam, rubber, silicon, plexi-glass, acrylic, vinyl, mylar, fabric, glitter, urethane, wood, electric lighting 96” x 80” x 28” (243,8 x 203,2 x 71,1 cm)

Jesse A Greenberg will be going to Columbia for grad school this fall, but we still claim him as a Philly guy. He will be in
Wild Feature, a group show with Melissa Brown, Brendan Cass, James B. Franklin, John Hodany, Misaki Kawai and Taylor McKimens.
Zurcher Studio
June 25 – July 26, 2009
Opening Thursday June 25, from 6 to 8 pm

Austin, TX

Amir Lyles

Amir M. Lyles, Africa Create Us:  Art Exhibit and Gallery Talk
DiverseArts’ New East Arts Gallery and Pro Arts Collective
June 13-July 9

Jesse Greenberg’s installation at Pageant sprawls across the gallery. That’s Kate Norton’s piece
to the right of the doorway.

Two great sculptural installations push the emerging artist shows at Pageant and Fleisher-Ollman into the desirable (but often unachievable) zone of art as serious fun. It’s too soon to tell whether new, fresh and accessible sculpture like this will save art from its self-imposed isolation in formalist concerns and hermetically sealed abstraction, but it might well point the way.

Pageant
Jesse Greenberg’s wall-to-wall installation at Pageant is the epitome of a new kind of friendly object-making, one that grows from whatever materials and methods are at hand into an installation that looks different each time it’s shown. The end is more important than the materials, and the goal is almost theatrical­: to create a kind of stage on which the viewer prowls like an actor in a play.

Jesse Greenberg’s Binxes, sprinkled around the room like a toy trail.

Greenberg annoints Pageant’s space with a hundred or more big and small objects. With his crazy mix of plastics, cast resins, found wood and other scavenged material, the local artist is one of the finest makers of this new kind of sculpture. His particular invention is what he calls binxe­s—small handheld objects cast and glued together. These are meant to be picked up and touched (they’re for sale), and with their Jolly Rancher colors they look like toys.

Greenberg’s larger works are fantasy furniture and art made for an alternate universe. These works are riding a contemporary collective unconscious­—like Eva Hesse did in her day. Their longing for Candy Land as well as for a place for spiritual connection is palpable.

Detail from Greenberg’s installation–visually rich and emotionally open. Altars and offerings everywhere.

The work is like nothing else being made anywhere. You could compare it to what’s in “Unmonumental” at the New Museum of Contemporary Art in New York, but Greenberg’s emphasis on the positive instead of the forlorn/abject puts his work in a class apart.

Kate Norton’s work, right, is edgy and like a sex fetish toy.

If Greenberg is the boy-child visionary, Kate Norton’s sensibility is pinker, softer and more threatening (chains and feathers instead of resin), but she’s a shaman and a dreamer/anointer as well.

Nick Lenker’s photo collage where tiny animal-headed warriors seem to be working for or against the big pig-headed giant. Weird and new.

Sarah Everton’s paintings of polar bears and a skier.

Rounding out Pageant’s show are Nick Lenker’s digital prints of nude warriors struggling against powerful animal-headed powers, and Sarah Everton’s bear, deer, bunny and horse paintings, which with their cute imagery are overshadowed by the extroverted works nearby.

Fleisher Ollman

Andrew Brehm’s suitcase-furniture at Fleisher-Ollman. The piece appears in a video in which the artist assembles the furniture and sits down — gingerly — to read.

Jamie Dillon’s circus-like stack at Fleisher Ollman lends some color to a show with little bright color in it.

At Fleisher-Ollman, Andrew Brehm’s sculptural installation of a desk, a bookshelf and a living room for a young nomad living out of suitcases is both goofy and poignant. The stagey piece is evocative of students living on nothing but pennies and their imaginations, and also adults who dwell in similar circumstances. Jamie Dillon’s sculpture Step Pyramid No. 2 with its circus colors and circus elephant ambience is a reminder of life’s comedies. Also in the show are Stephanie Beck, Gregory Brellochs, Andrew Gbur, Jennifer Levonian, Ryan McCartney, Eva Wylie and Yvonne Lung.

The user-friendly sculptures exhibited in these shows point to a time when art was a dinner conversation opener instead of a conversation killer—and that’s good for everyone.

“Isskustvo Transmagica Provinces Animamina”
Through Feb. 3. Pageant: Soloveev, 607 Bainbridge St. 215.733.0309.

“Street Button”
Through Jan. 26. Fleisher/Ollman Gallery, 1616 Walnut St., suite 100. 215.545.7562.

Isskustvo Transmagica Provinces Animanina may be a bewildering title for an art exhibit, but the objects in the show at Pageant Soloveev Gallery are equally bewildering–and wonderful. I felt like I was walking into a space filled with gifts.

Pageant once again proves to be a gallery you can’t pin down, putting together a juried show of four emerging young artists that sparkles with alternative universes and alternative life forms that are the opposite of the plodding online parallel universe of Second Life. Instead these young artists use to world we know take off for parts unknown.

Jesse A. Greenberg, Binx Invitational Wall Unit, plastic, foam, rubber, urethane, mylar, paint, wood, steel, acrylic, plexiglass, aluminum, fabric

Jesse A. Greenberg’s small cast what-is-its of gum-drop-y resinous bits are scattered all around the edges of the place, resting atop radiators and window sills and shelves, looking like unnameable toys awaiting installation under some plastic Christmas bush. They made me think of Alan McCollum’s multiple ingots, but Greenberg’s are playful, and they are multiplying and mutating faster than fruit flies.

Greenberg, who Roberta wrote about here, in one gallery room installed a sort of anti-Ikea arrangement of lamps and shelves and such, bizarre enough to barely suggest the household-goods inspirations. He also created a flashy object of wood, goop and found gewgaws that looks like a slot machine married to a tanning lamp, with a handlebar mustache hanging underneath.

Kate Norton, Miner VA

Not quite so playful but equally mysterious are the hanging creatures and landscapes suggested by Kate Norton’s assemblage sculptures–one with what looks like a heating unit radiating from its center with red, feathery ears and stuffed, hanging appendages; one an enormous, architectural framework held up by knotted fabric lianas; one a chair-like fabric construction with crocheted appendage hanging from a wire–suggest alternate modes of survival in a strange world.

Kate Norton, Sprinkle Toes

The tumbling architecture of Sprinkle Toes reminds me of Sarah Sze, with its tenuous and delicate hold against gravity. The art works’ titles suggest creatures–Yellow Bellied Black Bones, Sprinkle Toes and Miner VA.

Nick Lenker, Untitled/Piggy Bank, archival pigment print

Nick Lenker’s two enormous, sexy digital pigment prints are photo collages of man as beast–one a pig surrounded piles of gold coins, whipping little naked slaves to help him amass still more. The other, equally cinematic, is a wolf, a man-beast crouching and slouching toward Bethlehem, with prominent genitals hanging down. Both make me think of Cecil B. DeMille, with the enormous crowd scenes of tiny extras looking like an army of ants beneath the giant scale of the wonders of Egypt. These works are allegories of power, greed and sex.

Sarah Everton, Bear and Skier (left), Countries Where Black Bears are Found (right), oil and graphite

Drawings by Sarah Everton of animals have a deadpan, DIY vibe. Bear and Skier, and Countries Where Black Bears are Found are both Olympics posters gone wrong. There’s a strange, celebratory quality mixed with threats in these images, in which bears star with laurel wreaths and a lot of scary red. Her Majestic Double Bunny is a mutant resting uncomfortably on stilt-like pedestals in a forcefield with religious overtones. These works express anxiety about values we blindly embrace.

Sarah Everton, Majestic Double Bunny, pen, ink, markers

This exhibit, which is as dark as any I have seen in the past year, also manages to inject bright notes. Greenberg has a jaunty optimism and playfulness in his manic creations and Everton has a sweetness and a belief in the natural world that helps to keep my spirits up. Norton seems to be creating a foothold for mankind in the outer reaches of a universe that operates under different rules. Lenker’s predatory seX-men, however, do not move on to some brave new world. The mutant man-beasts look back to fables, fairy tales and bestiaries. They are moral tales of the digital age.

Jesse Greenberg invited me to his studio a while back and when I finally made it over there last month I found him busy preparing for his show at Bobo’s on 9th (til Oct. 19). Greenberg, a young artist (RISD BFA 2004) who’s been in Philadelphia for about a year, is part of the recent RISD influx that also includes Ryan Trecartin and Lizzie Fitch and company and the Bobo’s trio, Phil Cote, Drew Gillespie and Nick Payne. (Greenberg like Trecartin and Fitch lived in New Orleans after graduation, then left after Hurricane Katrina, spent time in Los Angeles and then settled on Philadelphia as a place to live and work.) The RISD classmates form a loose network of allies, helping each other with work (Jesse has appeared in Trecartin’s videos and the Bobo’s have shown Fitch and Trecartin’s work and now Greenberg’s in their gallery space).

MegaBinxes

A MegaBinx leaning station, seen in the studio. The height is just right for leaning on it and it’s soft and cushioned for that purpose.

For his senior thesis project Greenberg conceived his first interactive sculptural environments and called them “MegaBinxes” a word he made up that combines today’s reliance on mega to describe anything big and awesome and binx, a made-up word that sounds mischievous although harmless. “Oh you little binx, you!”

The idea was to make something intriguing and interactive; colorful, luminous and low-tech; a useful piece of sculpture with soft edges, glitter, rick rack, beads, swag. The artist filled the MegaBinxes with what he calls “touchables,” cast resin and rubber objects that fit in the hand and feel good to the touch and look familiar (they resemble things like harmonicas, chess pieces, buttons, buckles, and pieces of toys).

a box filled with touchables.

Touchables seen in a professional photo the artist sent me. These remind me of Mardi Gras bling.

The MegaBinxes — which were featured in the Lousiana Biennial at New Orleans Contemporary Art Center in 2006 — are made with materials scavenged from the street and with recycled industrial scraps the artist gets at 10 cents/pound from scrap dealers up and down the East Coast. (One he mentioned is Recycling for Rhode Island Education (RRIE).

Plastic and foam in many colors and with sparkles embedded might be left-overs from a diner’s re-upholstery project. Greenberg works with the materials, building an armature then adorning it with the great cast-off materials. The end result looks old and new, DIY hand-made and whiz-bang industrial, as if Willy Wonka became an artist and threw aside chocolate to make delicious things out of plastic and foam rubber.

Little MegaBinxes.

Greenberg, serious and soft-spoken, knows he is making something highly seductive. And while he wants people to interact with his works (in fact one piece is called a “leaning station” ie it’s to lean on) he doesn’t want to come out and say that in a gallery setting. Instead, he prefers people to come to their own mind about touching the art and playing with the touchables. Most people are reluctant to interact with art but there’s something so humble, so engaging and non-threatening about these pieces that I imaging people will overcome their natural hesitation and leap right in.

Greenberg leaning on his leaning station in his studio.

This is generous work that taps into everyone’s childhood memories of toys and play. And without being made with any thought towards politics or geopolitics, the very fact that these are comfort stations says volumes about how discomfited most people today are. This art is intended to entertain; it’s meant to lift you out of your worries and anxieties and take you to a pleasant place where your senses are stimulated in a gentle way. Art has always represented an escape into some other realm. Good art will draw you in and transport you. Where it takes you to depends on where the artist leads. Here, the young artist is leading the flock into a zone of trinkets and gentle play. While the environments resemble video arcade stations the game they offer is not one of winning and losing, stress and discomfort. Instead, they’re like getting a hug from a big sister who’s come to visit and brought you a present expecting nothing in return but a kiss.

Paintings

Greenberg had his paintings laid out on a sofa in the common space outside his studio. Something about the hodge-podge of works all together like a high school class posing for a picture was really terrific.

Greenberg is debuting some paintings in this show. He’s been making them on the computer and in the real world. Some of the works are representational but most are abstract with shapes, colors, textures leading the way. The abstract works have a collage feel to them the way the MegaBinx sculptures are collages, made from this and that. The colors evoke the sculptures as well, with hues that are clear references to colors you might find on seat cushions made out of pleather. Some of the 2-D works seem like they might be microscopic sections from the MegaBinxes, although interestingly the 2-D works are not fuzzy and warm, not full of comfort and not terribly welcoming the way the sculptual works are. The paintings are new and feel like they’re searching. I do believe the artist — who has much to contribute and has created something unique and wonderful in the MegaBinx works — will figure a way to express himself in paint as well.

The artist’s upstairs/downstairs studio, seen from the outside. The light bulb is to the left of his easel.

The artist’s studio by the way is in a shared space at 1712 N. 2nd St. just a little north of the Crane Art Center. The big warehouse has around 25 artists studios, each carved out individually inside the large space. There are several common areas for congregating, showing art, and working. Greenberg made himself a “two-story” studio in the high-ceilinged building. He built a roof on his studio, made a ladder to a roof and it’s up in the rafters — on his rooftop space — where he makes his paintings. The warehouse is run by Philadelphia Institute for Advanced Study an art group as mysterious as their Princeton-nodding title is funny.

One of the common areas in the large studio building which has skylights and a good ventilation system.

So what does the artist do as a day job? He works for a faux finishing service, something that keeps his hand in the art realm — and maybe started him thinking about painting. More photos at flickr, and be sure to get over to see the show at Bobo’s.

New work by Jesse Greenberg
to Oct. 19
BOBO’S ON 9TH
1134 South 9th Street
Philadelphia, PA 19147
(770)330-0615

I’ve been meaning to tell you about my studio visit with Jesse Greenberg, a RISD grad and friend of Ryan Trecartin and company and of the Bobo’s on 9th crowd. They’re all here now here in Philadelphia–a little RISD tributary that’s run right into our Schuylkill. Greenberg, whose work you may have seen at FUEL last year, is making wonderful interactive sculptures that look like R2D2 with the logic board missing. I will tell you about the studio visit soon. But first, you must go see his show which opens tomorrow night, Friday, Sept. 28, at 8 pm at Bobo’s on 9th, a new space, run by three RISD grads whose art band is called Bobo.

Bobo’s on 9th’s story is intresting, Greenberg’s is interesting. And you’ll love the art–interactive works the artist calls Megabinxes (like the ones above) with lots of touchable small objects inside each play station to play with (and buy!). And Greenberg will have some paintings too, some made on the computer and others painted by hand. Catch it at the opening or call for an appointment. And check my flickr set to see more of Jesse’s art.

Jesse Greenberg
New Works
Bobo’s on 9th
1134 S. 9th St.
(770)330-0615
Opening reception, Friday, Sept. 28, 8 pm.