Syd Carpenter’s Farm Bowls are mini-portraits of the farms and people she met on trips through the South. Named after these family farms, the Farm Bowls are “remarkable variations on the same, simple form” says reviewer Andrea Kirsh, who also comments about the “Mother Pins” that “they have stunning ranges of textures, coloring, and forms.” The exhibit is at Rowan University Art Gallery until March 26, 2022.
Read MoreKate Brock has a close encounter with Sarah Gamble’s paintings and drawings, works that Brock says are in the lineage of the “spiritual-abstract” of Hilma af Klint and the surrealism of Leonora Carrington. She also brings up the exoticism of Elvis! “I see Gamble’s kaleidoscopic worlds as an effort toward a speculative realm, wherein the spiritual, the creaturely, astronomical, atomic, and Elvis all bump into each other, and new poetry is formed.” Enjoy this great review, and catch the exhibit at Fleisher-Ollman, up until March 12, 2022.
Read MorePatrick Coué sees the materially-complex paintings by Shwarga Bhattacharjee and calls the works a perfect immersion into a reverie space far away from our “world of constant mediated inputs.” The works are both abstract historical landscapes and topographic maps, that are layered with meanings and feelings, Patrick says.
Read MoreMary Obering’s geometric abstractions glow from the placement of gold leaf on their tops or sides and Andrea Kirsh says they are like nothing else being made today. The work is up at Bortolami through Feb. 26, we recommend you get over and see this under-known artist and her glowing works.
Read MoreUsing hand-bent neon sculptures, artist Alissa Eberle installs a warm, candy-colored electric cavern into a small gallery space at HOT•BED. Our contributor Corey Qureshi’s review plays with the ideas of an intimate space treated with what are typically public and extroverted sign materials, and says the installation will put you in two different moods that feel loose and enjoyable. The show is up til Feb. 19, 2022.
Read MoreDeborah Krieger interviews Kelsey Halliday Johnson, artist and current Executive Director of Portland, Maine’s SPACE (plus former Philly resident/ arts worker/ member of Philly’s DIY-alternative community). Kelsey is enthusiastically dedicated to her role at SPACE, a multi-disciplinary independent maker hub; in particular their grantmaking program, the Kindling Fund.
Read MoreAn installation that resembles the interior of a house frames the multidimensional art of Scout Cartagena. The Afro-Latinx artist’s subjects are the fragility of the body and the slipperiness of identity and memory. There are prints, furniture and an eye-catching tree stump with red-colored glass flames coming out of the top. Corey appreciates the intimate look into the artist’s identity. Go see the show before it closes Nov. 24.
Read MoreCalling some works startling and unnerving, Logan Cryer makes the case for the importance of Mike Cloud’s provocative, Afro-pessimistic multi-layered non-painting paintings. This is a show you should see, Logan says.
Read MoreCorey Qureshi reviews ‘Strange Nature,’ a two-person exhibition of lockdown-inspired paintings by Nancy Mladenoff and Karen Heagle. The show– which Corey says elicits eerie memories of early-pandemic times– is on view (by appointment) through July 29th, at PEEP Projects.
Read MoreCorey Qureshi visits ‘Unfolding,’ a group show of 22 artists, at Atelier Art Gallery. Corey says you’re sure to find something that captures your interest- so check it out before the show closes on July 23, 2021!
Read MoreArtblog contributor Michael Lieberman reviews “Rising Voices,” an (now closed) exhibition of ten finalists of the Bennett Prize- a $50,000 prize for women figurative realist painters, awarded biennially.
Read MoreCorey Qureshi reviews Lily Wong’s “I Wasn’t There” currently on view at Kapp Kapp Gallery. Corey highly recommends the dreamy exhibition, which they say provides an excellent prompt for reflection.
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