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.
Maryanne Parson. This is not upside down. It is a detail of a very large painting, The Ship, that has portions that orient in different directions. It reflects on life in the urban landscape and on the endangered earth. I am sad to report the death of artist Maryanne Parson, whose large, complex paintings mixed trompe l’oeil surrealism with new age symbolism and personal storytelling. She died last night. Maryanne, who went to the Academy and Philadelphia College of Art (now UArts), first became known about town for her True Romance comics-inspired menu paintings at Lickety Split, one of the ... More » »
On the Inquirer’s front page–Artistic Nirvana, a story by Melissa Dribben, about how Philadelphia’s art scene has caught fire and is glowing bright red!
Hey, all you artists out there. We are continuing to post pictures as they come in of the Philadelphia art scene. Let’s let Michael Nutter know that we really care about what the city does about an Office of Arts and Culture. We hope he brings his big thinking to bear on the amazing visual arts scene in Philadelphia. For more info on how to submit your picture, see the end of the post. Kristen Neville of Little Berlin writes: I am including a photo of my friend Joey giving a big kiss because I am excited for change and ... More » »
Friday brings us more pictures of Philadelphia artists, art lovers, etc. who are hoping the mayor puts in place an art czar who can do some long range planning to capitalize on the exciting stuff happening in the visual arts in Philadelphia right now. There are lots of us who think this is important, and we’re only scratching the surface, here. How deep can we scratch? It’s up to you. Join our Kiss for Mayor Nutter campaign to show your support for an Office of Arts and Culture (see end of post to see how). Andrew Suggs soaking up one ... More » »
It’s Thursday, and we bring you more pictures of Philadelphia artists, art lovers, etc.–there are lots of us, and we’re only scratching the surface, here. How deep can we scratch? It’s up to you (see end of post). Rob Matthews write, Thanks to Libby for the source photograph [of Rob, that is]! From Shelley Spector: Me and Susan P Join the Kiss for Mayor Nutter campaign! Send in your 281(h) x 375(w) jpeg photo of yourself to firstname.lastname@example.org and help us demonstrate how many people care about the mayor’s campaign promise to create an Office of Arts and Culture. Email ... More » »
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 » »
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 » »
Eileen Neff, Anecdote of the Tree, 1999-2000, c print mounted on Cintra, 44 x 64 inches, collection of the Philadelphia Musuem of ArtEileen Neff’s photography-based art does the kind of work that every art photograph needs to do–it asks questions about the nature of reality, the nature of perception and the nature of the art object. Neff’s one-artist show Between Us at the Institute of Contemporary Art, includes 31 works, most of them photography based. Neff is a Philadelphia artist, and it’s second outing at the ICA, the other in 1992. (That same show was installed in Artists Space the ... More » »
Anthony Campuzano, After Note from Mothercolored pencil and graphine on illustration board, 200720 x 15 inches The words embedded in Anthony Campuzano’s drawings continue to amaze me, with their witty excerpts from magazine and news sources; they reveal the pulp fiction behind pulp culture, asking–and answering–just what the heck is really going on here. Some people have conspiracy theories and space invaders as their answer; Campuzano has the embedded meanings behind the words that parade before us, and he gives them a pulsating visual vibe with supernatural intensity. Campuzano has been part with the Fleisher/Ollman Gallery–and a presence on the ... More » »Next Page »