Friday, August 22, 2014
Thursday, August 14, 2014
Philadelphia Galleries/Spaces to know 2014
ARTIST ORGANIZATIONS//COLLECTIVES
2419 Frankford Ave.
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**this is an open post-Please feel free to add for your Peers**
VOX POPULI319 North 11th Street, Philadelphia (3rd floor)http://www.voxpopuligallery.org/Founded in 1988, Vox Populi is an artist collective that works to support the challenging and experimental work of under-represented artists with monthly exhibitions, gallery talks, performances, lectures, and related programming. For over 20 years, Vox has played a unique role in the cultural life of Philadelphia by bringing our audience a diverse range of programming and providing a supportive environment in which artists can take risks and gain valuable professional experience.
***Also Check outTiger Strikes Asteroid (http://www.tigerstrikesasteroid.com/), Progressive Sharing (http://progressivesharing.com/) Marginal Utility (http://www.marginalutility.org/) Napoleon (http://napoleonnapoleon.com/), GrizzlyGrizzly (http://www.grizzlygrizzly.com/), Practice (http://www.practicegallery.org/)… all at 319 North 11th Street
SPACE 1026
1026 Arch Street 2nd Floor Philadelphia
http://space1026.com/
Space 1026 has been a 7 year experiment. It has developed from a handful of founders to dozens of co-conspirators. Together we are becoming Space 1026. Space 1026 is a common excitement for making, producing and creating, not for some outside world of aficionados, but for each other, for our own kind. Space 1026 is two floors of a building at 11th and Arch. That‘s in Philadelphia. It is a network of dozens of artists who‘ve had studios at the Space, past and present. It is dozens of artists who‘ve had shows at the Space over the last 7 years. It is dozens of artists who come to our events, and participate in our community. Space 1026 is a community - a creative community - not an institution.
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Print Center
1400 N. American St., Philadelphia
**The Crane Arts building is home to other galleries including the giant Ice Box (http://www.cranearts.com/)
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Fabric Workshop and Museum
1214 Arch Street, Philadelphia
http://www.fabricworkshop.org/
The Fabric Workshop and Museum (FWM) is the only non-profit arts organization in the United States devoted to creating new work in new materials and new media in collaboration with emerging, nationally, and internationally recognized artists.
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Crane Arts Building1026 Arch Street 2nd Floor Philadelphia
http://space1026.com/
Space 1026 has been a 7 year experiment. It has developed from a handful of founders to dozens of co-conspirators. Together we are becoming Space 1026. Space 1026 is a common excitement for making, producing and creating, not for some outside world of aficionados, but for each other, for our own kind. Space 1026 is two floors of a building at 11th and Arch. That‘s in Philadelphia. It is a network of dozens of artists who‘ve had studios at the Space, past and present. It is dozens of artists who‘ve had shows at the Space over the last 7 years. It is dozens of artists who come to our events, and participate in our community. Space 1026 is a community - a creative community - not an institution.
________________________________________
Print Center
1400 N. American St., Philadelphia
**The Crane Arts building is home to other galleries including the giant Ice Box (http://www.cranearts.com/)
________________________________________
Fabric Workshop and Museum
1214 Arch Street, Philadelphia
http://www.fabricworkshop.org/
The Fabric Workshop and Museum (FWM) is the only non-profit arts organization in the United States devoted to creating new work in new materials and new media in collaboration with emerging, nationally, and internationally recognized artists.
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2419 Frankford Ave.
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Philadelphia Institute of Advanced Study
1712 North Second Street, Philadelphia
http://www.pifas.net
Don't be fooled by their 90's-esque website. Click the About tab and watch the magic.
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Philadelphia Institute of Advanced Study
1712 North Second Street, Philadelphia
http://www.pifas.net
Don't be fooled by their 90's-esque website. Click the About tab and watch the magic.
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GALLERIES
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Larry Becker Contemporary Art
43 N. Second Street Philadelphia 19106
http://www.artnet.com/lbecker.html
43 N. Second Street Philadelphia 19106
http://www.artnet.com/lbecker.html
Bridgette Mayer Gallery
Pentimenti Gallery
PAGEANT SOLOVEEV
607 Bainbridge Street, Philadelphia
http://www.pageantsoloveev.com
Little Berlin
119 West Montgomery, Philadelphia
http://littleberlin.org/
607 Bainbridge Street, Philadelphia
http://www.pageantsoloveev.com
Little Berlin
119 West Montgomery, Philadelphia
http://littleberlin.org/
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Wednesday, November 27, 2013
Saturday, October 12, 2013
Friday, October 11, 2013
From 2004// Saltz on the use of photography in painting
The Richter Resolution
Photo finish: Calling for a four-year moratorium on a fashionable, far too overworked trend
This is not a geezer rant about loss of skills, bad drawing, laziness, or cheating. I'm not trying to put the genie back in the bottle. Like brushes and rulers, projectors are tools. This is about how these tools are used, which lately has become unadventurous. I address this mainly to students and do so provisionally, not prescriptively or prohibitively. Basically, this is a celebration of artists who find original ways to use these devices and an indictment of those who have turned this type of depiction into a tedious tic.
By now, almost everyone would agree that the traditional Warhol-Richter-Walter Benjamin defense of the use of photography in painting, the "Art in the Age of Mechanical Reproduction" argument, and the chatter about "interrogating representation" or "investigating the problem of the photograph," isn't just dated, it's shtick. We all know that photography is a remarkable and remarkably complex way of seeing and picturing the world; that the space between the photograph, the photographer, and the thing photographed is incredibly rich; that the graphic field of the photograph is often scintillatingly alive, specific, and very post-Renaissance; and that reproducing photographs in paintings once represented a significant repudiation of dearly held beliefs. There's always a buzz about seeing images of images, or in the case of Pop art, icons of icons. But there hasn't been a "problem of the photograph" for more than a decade, only a problem with the people who think there is. The camera, which was supposed to supplant painting, didn't. Instead, painting—ever the sponge and always elastic—absorbed it and discovered new realms to explore.
These days, much photo-based painting looks the same (ditto digitally based abstraction, but we'll deal with that another time): a newspaper photo, picture of an urban or suburban setting, an airport or a hotel; a celebrity, fashion model, or porn star; a stadium, pavilion, or modernist interior; a still from a film; a yearbook pic; shots of young people doing anything; or any advertisement. These images are typically rendered in kaleidoscopic color, blurred pigments, or washy black and white. Regardless of who makes these monotonous knockoffs, the results are the same: variations on Richter, Warhol, Tuymans, Polke, Celmins, Fischl, Rauschenberg, Peyton, Doig, Close, Robert Longo, Lisa Ruyter, or any original photorealist. Unlike their lemming-like imitators, all these artists have employed photographs in original ways.
Like all media, painting has certain weapons of mass destruction at its disposal. Fervent fans of painting (like me) think these WMDs are the reasons painting has been around for so long and why it's so bottomless. They include drawing, color, surface, touch, working from the imagination or observation, and the mystical ability to embed thought in viscous substance. This alchemical artillery is typically restricted or curtailed altogether in work that simply reproduces a photograph by mechanical means. The results are what I often think of as fake artand easy solutions.
Often, faint pencil marks are visible where the artist has carefully followed projected outlines (see especially nostrils, mouths, and hands). This isn't drawing, or even an idea of it. It's mindless copying. Yet even this nondrawing would be fine if it were purposeful. Usually, it's not. These painters are just trying to get the photo right, like diligent grade-schoolers. There's little ad-libbing, invention, exploration, or discovery, just standard twists, shifts, and blurs. There's no exultation in looking or seeing or space. Yet painting is so powerful that it can run effectively with almost all of its cylinders rendered ineffective. That's why some of this art passes as something rather than nothing—although all of it will look dated in no time.
The point is, cameras see things in a very particular, very identifiable way—with a single "eye," usually a 50-millimeter one. Our eye's lens is variable (to focus near and far) and is approximately 80mm. The perception of space varies from person to person and depends on experience and emotional and refractive state. Nearsighted people tend to be center-oriented while ignoring the periphery. Others have difficulty focusing on details, but notice everything around them. The eye is round; the film plane is flat. Camera lenses correct for chromatic and spherical abnormalities; we don't. Eyes scan; cameras crop. Either way, the instant I see a painting with an image that has been reproduced by rote, I know it: Much of the life of the painting drains away, and I die a little. All I am saying is give the alchemy of painting a chance.
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