Tag Archive "locks-gallery"

Jane Irish’s poem pots at Locks gallery

We’ve told you about Jane Irish’s ceramic vases before (see posts here and here). Now on view at ICA in Dirt on Delight and recently at Locks Gallery, Irish’s pots, with their beautiful designs and colorful paintings embellishing their chunky and earth-bound selves are both beauty and the beast. The beast is the words — poetry — commissioned by Irish or conscripted by her for her subject, that appear on the pots. Angry or questioning, the poems reveal the legacy of the Vietnam War and they feel just right for our equally conflicted feelings about the Iraq war. Jane Irish’s ... More » »

Two ICA-related shows-Rich Text and Jane Irish

Anthony Campuzano, Bicycle Bomb, 2008, ink on board, 20 x 30 inches Two Philadelphia galleries are showing art with lots of words–both shows with tie-ins to current exhibitions at the ICA. The galleries are the blue-chip Locks and Fleisher/Ollman, and the shows they have mounted are tip-top. At Fleisher/Ollman, the group exhibit Rich Text is keying off Touch Sensitive: Anthony Campuzano, an ICA exhibit of the artist’s text-based art.

Interior spaces–McEneaney and Harvey at Locks

Post by Tim A. Campbell Sarah McEneaney, Studio, NM, 2008, egg tempera on linen, 48×58 inches The pairing of Sarah McEneaney and Ellen Harvey at Locks Gallery since early November is a serendipitous counter-point between very different artists who share some subjects between them. Both exhibitions explore interior space. They are notably different in conception and execution, and the motives behind representation are on different trajectories. This common ground between the shows provides a lucid window into contemporary painting. Personalized and intoxicating, McEneaney’s work is a reflection upon studios, fantasies, and private life both revealed and invented. Many paintings depict ... More » »

Weekly Update — Sarah McEneaney’s Dog Heaven at Locks

This week’s Weekly has my review of Sarah McEneaney’s exhibit at Locks Gallery. Below is the copy with some pictures and a few additional words. More photos at flickr. Sarah McEneaneyNight, 2008egg tempera on linen48×48″ In her first solo show in Philadelphia since her 2004 Institute of Contemporary Art retrospective, Sarah McEneaney creates a world that is brighter, more manic and far more whimsical than the world most of us live in—and for that it is absolutely loveable. Now on view at Locks Gallery, the accoladed local artist’s autobiographical works are not a “true” or documentary picture of her life. ... More » »

Weekly Update – Joy Feasley casts a spell at Locks

This week’s Weekly has my review of Joy Feasley’s solo show at Locks Gallery. Below is the copy with some pictures. More photos at flickr. Joy Feasley. Molek, 2008. vinyl paint on medium density overboard. 24×30″ There are narrators, decorators, abstracters, experimenters and those who use all those strategies at once—like Joy Feasley. “Weaving Spiders Come Not Here” is Feasley’s first solo show at Locks Gallery, though she showed there with Clare Rojas in 2007. Feasley mostly makes narrative sweet-tart paintings, but some are pure pattern. Experimental pieces play with resin, flocking and glitter. The works focus on the beauty ... More » »

Kate Bright at Locks Gallery

Kate Bright Between the WoodsLocks GalleryMay 2-30, 2008 Grove60×84″2008 I have gotten into the nasty habit of popping in on really outstanding shows just a couple of days before they close. This is alright by me but particularly bad for you, dear reader, as you will no doubt be perusing this post as the minutes tick away from the time you have to see the paintings of Kate Bright at Locks Gallery. As it stands you have about a week which is more then I can say for those of you wishing to catch the delightful Jennifer Bartlett exhibition (read ... More » »

Jane Irish at Locks–Vietnam vs. the good life

Created with Admarket’s flickrSLiDR.To view this set at your leisure and see the details of the lettering, go to my Flickr set here. Jane Irish’s exhibit Paintings for Winning Hearts and Minds at Locks Gallery moved me to tears. The paintings, some of them 11 or 12 feet long, are of sumptuous, historical-looking spaces painted atop anguished words–poems and quotations–from the Vietnam War era. Perhaps I was primed to be affected because I had just the week before had a conversation with Pheoris West and James Dupree about how their high school classmates who weren’t college-bound all died in the ... More » »

What we want to see Friday

First Friday’s coming up Dec. 7, 2007. Here’s some of what we’re excited about. For gallery times and locations, check the links to the gallery websites. David Kessler‘s Shadow World videos and Candace Karch’s black and white photographs at Bambi. At Vox Pop, members Josh Rickards (image above), Max Lawrence and Micah Danges, plus more in the 4th room, the video lounge and in Screening!! Jane Irish, Room with Blue Vases/VVAW San Francisco, 2006. oil on Tyvec with raised letters and modeling paste, 5 x 8 feetIrish is at Locks Gallery along with etchings by Lucien Freud and work by ... More » »

Susan Moore’s taboo tattoos and Peter Campus’ landscapes at Locks

by Susan Moore Don’t judge Susan Moore’s work in her exhibit Second Skin at Locks Gallery by a digital image. The scale is confrontational–as large as or larger than life (many of the pieces are about 80 inches tall), and although the nudes are traditionally executed, the confrontation is not so much about the nudity, but rather about the stereotypes we have about people’s identities and their relationship to their bodies–and to the implications of the tattoo imagery they sport. The tattoos that Moore draws atop the bodies do belong to the people in each drawing. But in most there’s ... More » »

Ambiguous flower power: Polly Apfelbaum at Locks Gallery

Post by Ingrid Pimsner Polly Apfelbaum, Love Park 15, 2007, multi-color woodblock, 79 x 79 inches, photos in this post by libby Dave Hickey’s “Air Guitar” should be required reading before visiting Locks Gallery this month because if there is any work that captures Hickey’s enthusiasm on the frivolity of art, Polly Apfelbaum’s “Big Love” prints would be it. With the simple child-like imagery of flowers in bright saturated colors, deeply printed into thick handmade paper, her work practically squeals with laughter. The work is jubilant and the forms are strong, like the flower prints the New York Times claims ... More » »