All five artists’ work collectively covers (porously) the surface of the gallery itself. In fact the physical space itself becomes a porous “skin” to uphold the show. The success here is that Porous Coverage is porous itself, i.e., hardly a conclusive statement at all. Rather, with ample opportunity for flexibility and expansion, we are reminded to examine the intrinsic fragility of the nature of “wholeness” in the realm of our constructed objects, spaces, and selves.
Read MoreBittersweet news – Bree Pickering, Executive Director of Vox Populi Gallery, is leaving Philadelphia for a wonderful job back in her home country, Australia, to take on the Directorship of MAMA, Murray Art Museum Albury, New South Wales.
Read MoreThe works of emerging/mid career artists, Amber Johnston, Brian Richmond and Michelle Marcuse in the current Fleisher Wind Challenge Exhibition represent a small sampling by these notable Philadelphia artists. But a sense of their chosen direction is evident.
Read MoreJoin us for our next Art Safari on October 15, 2016, 2PM – 5PM! We will begin at Fleisher Art Memorial and DaVinci Art Alliance, both on Catharine Street, and then promenade to Paradigm Gallery and Studio, in the heart of Fabric Row, taking in the art and history of the area along the way.
Read MoreJonathan Monaghan, the New York-based artist, exhibited his series of digital collages that mix Manhattan architecture with 5th Avenue luxury sofas, divans, and love seats in a questioning survey of our cities and sense of reality. At his exhibition at the beautiful gallery 22,48 m2 in Paris, Monaghan seeks to literally open a window on the myth of our cities, the notion of luxury and the dreamscape of our fantasy, echoing the sense of longing and mystery Italo Calvino speaks of in his Invisible Cities.
Read MoreWe’re bringing back a regular round-up of our upcoming posts for you to look forward to! If you’ve got an upcoming exhibition, performance, or event you think would be a good fit for Artblog coverage, feel free to pitch us a story at hello@theartblog.org.
Read MoreOverall, Gilli’s performance articulated a complexity that was welcome and it did so within a project space that promises more interesting interventions. What was distinctive about the performance was its staging of the artist’s thought process in a moment of its development.
Read MoreTogether, the paint box, palette, and paintbrush reminded me of the relics of saints–the remains of holy men and women, or the objects, earth, or clothing that came in contact with them during their lives. Too precious for human hands to touch, too powerful to stay buried in the ground (or archive), they can only be accessed through the containers that surround them. The saint’s (or artist’s) power is manifested by his ability to produce miracles through his relics. With His Study of Life, Orellana offers us the possibility of a sort of post-modern miracle, making a tongue-in-cheek yet deeply serious exploration of the religion of art, and of the ghost in the machine.
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