With our reviews, we lead the discussion about what is valuable and why.
Our writing team covers exhibitions and performances in Philadelphia and elsewhere. We also cover books and movies. We look, take notes, ask questions and listen. We take pictures, make video and audio recordings. We think about what we see and have opinions. And we write our hearts out, every day.
Logan Cryer visits “Quality of Life,” Jennifer Packer’s current show at Sikkema Jenkins in Chelsea. Packer, who Artblog founders Roberta Fallon and Libby Rosof first met as a student in their senior painting class at Tyler School of Art, composes lush, figurative paintings from an economy of strokes and suggestive erasures. Her show closes January 19, so check it out for yourself while you still can!
Read MoreThe swirling and vigorous ink drawing on the gallery walls by Atlanta artist William Downs is embellished by long strands of Christmas tinsel that swish and sway when humans move near (or away from) it. The remarkable drawing’s life in the gallery lasts only through Jan. 27. Deborah Krieger spoke to the artist at the opening. Read her pithy and elegant review and get to the gallery quick before the mural disappears.
Read MoreScience tells us that Earth has had five mass species’ extinction events in its history. Writer Elizabeth Kolbert, in her Pulitzer-prize winning book, “The Sixth Extinction: An Unnatural History,” argues persuasively that we experiencing a sixth extinction right now, one caused by man, and not by volcano or asteroid. Shawn Sheehy, in his haunting “Beyond the Sixth Extinction: A Post-Apocalyptic Pop-Up,” speculates on the dire circumstances of vast and irreversible climate change and suggests how some species may adapt, hybridize and succeed in the future. Our guest writer, Colette Fu, is an award-winning Philadelphia-based artist, whose pop-up books are owned by many museums and collections. Colette writes a cogent review of the cautiously optimistic book.
Read MoreImani reviews the new catalog from Rizzoli Electa, “I Too Sing America,” published in conjunction with the exhibit by the same name at the Columbus Museum of Art. Chock full of color images, archival materials and biographical insights, the coffee table book by writer and the show’s curator, Will Haygood, a Columbus native, is more than just a pretty face, she says.
Read MoreBecky Suss’s new paintings on view at Fleisher/Ollman honor the legacy of mid-century craftsman Wharton Esherick, whose home studio is in Chester County. Suss chronicles the spaces Esherick designed and occupied as well as the furniture he is known for, translated through her own vision of the spaces, places and objects. Architect and Artblog contributor Mandy Palasik interprets the show and examines the resonance between these two artists and their bodies of work. “Becky Suss/Wharton Esherick” is open through January 26, so make your plans to visit now!
Read MoreTina Plokarz takes a trip down to WIlmington to view Aaron Eliah Terry’s current exhibit at The Delaware Contemporary. Terry, who is a current member of Vox Populi, (as is Tina), makes collages, prints and sound installations that explore the relationship between music, visual culture and political activism from the 1960s and 70s until today. Get down to The Delaware quick before “Syncopated Samizdat” closes on January 10.
Read MoreSaba Taj’s current solo show at Twelve Gates Arts deftly combines humor, beauty and violence in speculative collage work that explores earth’s social and biological future from a queer, brown perspective. Deborah Krieger takes in the Durham-based multidisciplinary artist’s subversive “of beast/ of virgin” and reports.
Read MoreRecent UArts graduate Heet Lee had her first solo museum show in Leipzig, Germany earlier this month and Artblog correspondent Olivia Jia, who visited her friend’s exhibition, tells us about it. Lee’s energetic and aggressive compositions draw imagery from a dizzying array of sources, both public and private.
Read MoreWill language go on if and when we do not? How does one speak of the future in a doomed world? Here Levi Bentley reviews a new book of poetry by Cynthia Arrieu-King that ponders these questions and many more. Out December 14, 2018 from Radiator Press (Philly’s newest poetry press) “Futureless Languages” is rooted in close observation of our trying times. Read on and pick up the book for yourself this Friday!
Read MoreLike many local artists, Janyce Glasper treks up to New York every now and again to see what’s new. Here she fills us in on the latest from Nina Chanel Abney, who has just started translating the aesthetic of her politically-charged collage paintings into monoprints. If your plans take you to the big(ger) city, you can view Abney’s powerful, ambiguous work for yourself at Pace Prints through December 15, 2018.
Read MoreWhen an under-appreciated woman artist finally gets her due, you know Artblog will be there to cover it! Here Andrea Kirsh tips her hat to the Barnes Foundation and their major retrospective of Berthe Morisot, on view through January 14, 2019. Morisot, who was one of a small number of female artists at the epicenter of the Impressionist movement, was also a true pioneer of form and technique.
Read MoreImani reviews Poorly Watched Girls, a series of multi-media environments created by Suzanne Bocanegra at the Fabric Workshop and Museum. This complex body of work, in turns mournful and playful, will be up through February 17, 2019.
Read MoreIn Part 2 of Andrea Kirsh’s annual roundup of the best in art books, there is something for everyone on your holiday gift list from lovers of figurative painting to abstract sculpture fans. There’s also something for everyone to learn, whether it’s about a previously under-appreciated regional artist or the most famous self-promoter in the history of Modern Art.
Read MoreDeb Krieger takes an early tour of The Complicit Eye, lauded ceramicist Kukuli Velarde’s first major solo show of paintings in Philadelphia. This provocative body of work, on view at Taller Puertorriqueño through April 30, 2019, reveals Velarde’s long-standing use of self-portraiture as a mode of intersectional feminist critique.
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