The three top prizes at this year’s Victory for Tyler exhibit (subtitled Sculpture 2009), went to Philadelphia artists. The huge, 29-artist exhibit attracted 500 people to Saturday’s opening at the Ice Box at the Crane Arts Center. There is a second opening tonight, at The Crane’s Second Thursday, 6-9 p.m. that will include some more performances. So it would be a good time to go if you missed the opening, since performance was a key part of so many of the pieces.
Sarah O’Donnell’s mountain lodge from The Shining at Little Berlin, June 2008 Little Berlin’s founders Martha Savery and Kristen Neville-Taylor put out a call for members a while back to mix it up a bit and push their space forward. I talked with Savery by phone last week and she explained the move as a desire to bring in new energy, ideas and hands to help run the gallery. Yesterday LB announced the names of their new team, some of whom have LB affiliations (having shown there or curated there) and some of whom are new names. Little Berlin the ... More » »
In the onslought of exhibits of graduating students work, there are still more standouts, and I thought I’d cherry pick a few. In the group exhibit Restless Discontent, at My House Gallery, I was intrigued by work by several of the artists. Sarah O’Donnell Sarah O’Donnell (who also has work up at Little Berlin right now–see previous post), from Tyler, brings to her drawings her interest in what we see and how it connects — or doesn’t connect — to what we don’t see. This is the one that I loved, with a creepy suggestion of the drain pulling down ... More » »
Conor Fields, a view of the works behind the Untitled bookcase projection We all have a love affair going with the movies–arguably the narrative art form of our times–and the exhibit in Little Berlin is all about that. Post Production features multi-media installations by Sarah O’Donnell and Conor Fields that blow kisses to the movies. Conor Fields, Day in Paris Fields’ works hark back to early movie technology, with Neanderthal mechanics imbuing old-fashioned special effects with a sense wonder and eager ingenuity. In Day in Paris, a zoetrope/lampshade salutes both early movie technology and early aviation technology, recreating Alberto Santos-Dumont’s ... More » »