After three years of solid programming, Screening Video—the room behind the black curtain in Vox Populi’s entryway—is going away. For its last show ever, the little project space offers “Organic Honey’s Visual Telepathy,” feminist artist Joan Jonas’ 17-minute, black-and-white performance video from 1972.
Vox Populi’s Dead Flowers—guest curated by Lia Gangitano of PARTICIPANT INC, New York—invites us to consider the spirit of the underground through little known director Timothy Carey. A vintage poster for The World’s Greatest Sinner! at the entrance of the exhibition proudly announces Carey’s film as—and suggests that any other work in the show should aspire to be—the “Most condemned and praised […] of its time.”
What a delicious First Friday–a layer cake of delights. I’m putting up a bunch of pictures, hoping they might entice you to take a taste.
This week’s Weekly has my First Friday roundup. Below is the copy with some pictures. In the world of visual art, kinetic sculpture is like the kindergartner in a room full of grown-ups—loud, rambunctious and ready to have a good time. Delaware Center for the Contemporary Art ’s anniversary show, “SHIFT: Kinetic Sculptures,” is a perfect example. Eight artists— including Philadelphia’s Tim Belknap—present works using electronics, motors, compressed air, water and found objects (including a trash container, a motorcycle and cow bones). The works may remind you of children’s toys or mad science experiments. Belknap’s water-filled trash container feels like ... More » »