Sweet Tooth

Neil Marcello, Sweet Tooth, 3rd Street GalleryNeil Marcello, Good and Plenty, Sweet Tooth Series, 2014-2016

 NEIL MARCELLO: SWEET TOOTH

Through  July 31, 3rd Street Gallery, 45 N 2nd Street, Philadelphia

ARTIST TALK – Sunday, July 10, 2:00 – 4:00pm

Q & A WITH THE ARTIST – Friday, July 15, 5:00 – 7:00pm

The 3rd Street Gallery is pleased to announce, Sweet Tooth, the solo show of photographer Neil Marcello whose works continue to explore complex industrial solutions that ultimately become the problems that bear examining.

In Sweet Tooth Neil’s photographs of architectural dioramas, that he designed and hand built, suggest the role industry plays in the production of candy and the use of artificial dyes in the United States. His interest in the candy industry began as a boy consuming readily available sweets such as Nestles, Butterfinger, which just recently eliminated artificial dyes in its manufacturing process for this particular brand of candy.

neil2Neil Marcello, LemonHead, Sweet Tooth Series, 2014-2016

He was surprised to learn that the Mars candy manufacturing company used (and continues to use) natural dyes in their production of candies in Europe, and the United Kingdom, but not in the United States.

He says, “I offer them up as kitsch motifs, similar to the shapes, colors and forms used by candy manufacturers to stimulate and entice the viewer…”.

While viewing these fantasy images, Neil encourages the viewer to reflect on how far we may be willing to go in order to satisfy our cravings. Together with the launch of his latest exhibition, Neil has collaborated with Philadelphia street photographer, Ronald Dean Corbin, on the release of Corbin’s new self-published photographic book, entitled “Photographs My Way” (2016), available on Amazon.

Contact: Neil Marcello

neil@neilmarcello.com

www.neilmarcello.com

http://www.neilmarcello.com/books-catalogs.html

Please contact the artist for prints and commissions

neil3Neil Marcello, Twizzlers, Sweet Tooth Series, 2014-2016

3rd Street Gallery, an artist-run fine arts gallery, opened its first space in 1978 on the corner of 3rd  and Bainbridge in South Philadelphia. It has shown numerous artists since its inception and currently hosts fifty member-artists. These multigenerational, award-winning artists hold advanced degrees in the arts and sciences, work in diverse traditional and contemporary media, and have their works included in collections at museums, as well as in corporate and private collections.

Thank you to Neil Marcello for the content of this post.

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Ourself

Ourself: Roosevelt Plaza Park, Camden   Ourself : An Interactive Public Art Piece

Roosevelt Plaza Park, Camden NJ – 2016

Ourself is a site-specifific, responsive artwork that shares the positive inner voices of Camden. By entering the work the public activates audio clips of personal interviews with local residents from all walks of life, around the theme of motivation and ambition.

The infinite mirrored space symbolizes the many voices of the community that define our story and ourselves. Ourself is produced by New American Public Art in collaboration with Cooper’s Ferry Partnership, the City of Camden, Connect the Lots, Get Healthy Camden and NextFab.

ourself2

The work is generously funded by the National Endowment for the Arts, the Kresge Foundation, and the Campbell Soup Foundation. The Connect the Lots initiative is a community-driven initiative to activate Camden, New Jersey’s vacant and underutilized spaces through the identification and implementation of artistic, cultural, and recreational projects and activities in these spaces to create safe and vibrant gathering places for the residents of the City of Camden.

ourself3

For more information visit newamericanpublicart.com/ourself

Contact: New American Public Art info@newamericanpublicart.com 10 Tyler Street, Somerville,, MA 02143

Meishka L. Mitchell, AICP, PP meishka@coopersferry.com 2 Riverside Dr # 501, Camden, NJ 08103

ourself4New American Public Art is a multi-disciplinary studio for conceptualizing, designing, fabricating, and installing interactive projects.

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Community

kere4Laongo CSPS Clinic, Designed by Francis Kéré, Burkinabe, active Berlin, Photograph © Kéré ArchitecturePhiladelphia Museum of Art

The Architecture of Francis Kéré, Building for Community, Philadelphia Museum of Art

May 14 – September 25, 2016, Collab GalleryPhiladelphia Museum of Art

Francis Kéré is an internationally renowned, Berlin ­based architect who integrates traditional knowledge and craft skills into innovative and sustainable buildings worldwide. As the first son of the head of Gando, his home village in Burkina Faso, he was the only child allowed to attend school in a large city; he later studied architecture in Europe. While still a student, he began to reinvest his knowledge back into his community, building schools that would change its future trajectory.

In Gando, Kéré combined traditional Burkinabé building techniques with modern engineering methods, maximizing local materials and community participation to reduce costs and ecological impact—a practice common to many of the projects highlighted in this exhibition. His work in Gando has become a catalyst for further development: the men and women he trained in construction techniques can now use their skills to earn incomes for their families. Students in his schools have gone on to pursue higher education and aspire to circumstances that were considered impossible before.   kere7Primary school in Gando, Burkina Faso, completed 2001, Designed by Francis Kéré, Burkinabe, active Berlin, Photograph by Erik-Jan Ouwerkerk

Harnessing the success of the Gando initiative, Kéré founded his Berlin office in 2005 and has since garnered acclaim for his work elsewhere in Western Africa and, more recently, in Europe and North America. He is the recipient of the 2014 Schelling Architecture Foundation Award, the Global Award for Sustainable Architecture, and the BSI Swiss Architectural Award, among others.

kere3Gando School Library, Designed by Francis Kéré, Burkinabe, active Berlin, Photograph © Kéré Architecture

This school consists of nine modules that house a series of classrooms and administrative offices. The laterite stone walls, undulating off-white ceiling, and unique wind-towers exponentially reduce the interior temperature.

Secondary School, 2007 / Dano

Consisting of three classrooms, a computer room, and office space, this school is built mostly of widely available laterite stone and features a permeable ceiling, a corrugated sheet roof, and shaded windows that ensure natural ventilation. The laterite refining process and the ventilation system illustrate Kéré’s innovative techniques utilizing local handicraft.

Francis Kéré, Building for CommunityGando School Extension, Designed by Francis Kéré, Burkinabe, active Berlin, Photograph by Erik-Jan Ouwerkerk

Primary School , 2001 / Gando

To ensure a natural and sustainable cooling system in an extremely hot region, the roof over the classrooms is elevated from the interior construction; underneath, a perforated clay ceiling allows for maximum ventilation.

Canopy Shelter and Shade

The tree is a primal form of shelter. Four fundamental elements of architecture can be extracted from the various parts of the tree: canopy, structure, gathering place, and shadow. The canopy, as a general concept of various roof and ceiling enclosures, is an architectural cornerstone in Kéré’s work. Constructions in hot, arid places like Burkina Faso depend on innovative shade-making devices that allow ventilation and cooling without the need for electricity, as well as overhangs that provide protection from torrential rains. This video’s skyward perspective presents the importance of canopies in Burkina Faso, from village trees to traditional ceilings made of clay and thatch, to Kéré’s roof constructions at different stages of completion.

kere6Gando School Library, Designed by Francis Kéré, Burkinabe, active Berlin, Photograph © Kéré Architecture

Building with Community

Reflecting the accessibility of Kéré’s building process, this video shows one of his most recent projects: the Lycée Schorge school in Koudougou, Burkina Faso. Unlike most modern construction sites in the West, which are strictly off-limits to the public, the Schorge site is left open for the surrounding villagers to observe. This process demystifies the act of building, allowing the public to slowly accept and sometimes even contribute to the new construction. Every stage of the project, including mounting the ceiling trusses and facade elements, fabricating the classroom furniture, and painting the interiors and window shutters, is performed without the use of heavy machinery.

The chairs in this space were made by a local fabricator in Philadelphia using the same design that Kéré created for schools in Burkina Faso. The Francis Kéré Foundation and the Philadelphia Museum of Art are pleased to offer these fifteen chairs for sale at the close of the exhibition to support Kéré’s further work in Gando. If you would like to reserve one or more chairs, please visit the Museum Store in this building for further details.

Diébédo Francis Kéré: How to build with clay… and community

Sharing Knowledge

Whether in a classroom with chalkboards and desks, or under a great baobab tree with logs and stones, the survival and prosperity of each new generation relies heavily on the transmission of knowledge. Gathering is not only a function of social occasions, it is also how ideas are discussed and spread. Shadow symbolizes this place of coming together. Visitors are invited to sit within this gathering space.

Wood

While natural hardwood forests are rare in Burkina Faso, the fast-growing eucalyptus tree provides a useful source of timber. This species is considered a nuisance in the region because it provides little shade and leaches moisture from the soil, exacerbating the problems of desertification. Despite its limited structural strength, it can still be made into screens, interior finishes, furniture, and even secondary facade systems that shade and protect buildings from wind and rain. Through the process of testing and prototyping, Kéré’s firm is also exploring new solutions for reinforcing the material for structural applications.

Clay

Burkinabés have long built with clay, extracting it from the earth, processing it by hand, and using it in a variety of architectural and craft elements, from walls to hand-built pottery. For the Gando School Library, Kéré pioneered a new use for local clay, casting sections of large pots into the ceiling to provide natural ventilation and lighting. Made by local women, the pots were transported to the building site on foot, involving the community’s expertise and participation. More recently, Kéré engineered an innovative way to cast the clay into reusable molds, creating wall systems that can be replicated for use in modular buildings.

Bricks

Bricks play a crucial role in Kéré’s architectural practice. Whether cast from clay or cut from locally extracted laterite stone, the simple form of the brick can be used to create sophisticated architectural forms and building systems. With or without mortar, bricks can be used in walls, ceilings, and floors. Different systems of stacking and bonding can produce a permeable boundary, allowing air and light to pass through. Thick brick walls also create a thermal mass, which, together with adequate ventilation and shading, helps to maintain a comfortably cool interior space.

School Furniture

To offset the costs of transporting building materials to remote sites with extremely limited means, Kéré and his team came up with ingenious ways to use every scrap of material left over from construction. Using steel rebar and plywood, the team built customized chairs and desks for school students and staff. Every bend and weld was carefully calculated to streamline production time and costs. The furniture was produced on-site with simple hand tools and jigs. A particularly striking detail is the rubber “shoe” made by hand from recycled automobile tires.

Architecture of Community

Despite the many differences between the city of Philadelphia and the village of Gando in Burkina Faso, where Francis Kéré was born, the installation in this atrium emphasizes the human-scale domestic architecture of both places and the sense of community such a design produces. In the plan of this space, Kéré overlaid the geometric grid of William Penn’s Philadelphia — represented by the regular placement of the frames that support the hanging parachute cord enclosures — with the irregular disposition of the enclosures themselves, mimicking the organic development of a Burkinabé village. The installation also features sounds collected from both Burkina Faso and Philadelphia, reinforcing the concept of community and shared space. The hanging parachute cord material may appear first as an obstacle, but on entering and interacting with the installation, the visitor will perceive that the material is a unifying, enclosing element that creates common spaces that must be negotiated and shared.

It Takes a Village

Conceived by Kéré Architecture and designed in collaboration with the Philadelphia Museum of Art’s Curatorial, Exhibition Design, and Editorial and Graphic Design teams, this exhibition has fostered an exchange of ideas, traditions, and experiences between Africa, Europe, and the United States. Thanks to the eager participation of many members of the Museum staff and volunteers, the Young Friends Executive Board and event committee, students from the University of Pennsylvania Undergraduate Program in Architecture, and the general public to help fabricate components, this installation truly represents the coming together of a community. In addition, the Philadelphia Museum of Art would like to acknowledge Richard Wesley, for facilitating the UPenn collaboration; Larry Spitz, Carol Klein, and Sasha Barrett, who generously offered their services in creating the red clay pots to suggest the Gando Library ceiling; and David Cann and James Bassett-Cann, for their help in the realization of the atrium installation.

Photography is OK, but please no flash.

Social Media: #CreativeAfrica 

Follow us and join the conversation: Twitter/Facebook/Instagram/Tumblr/YouTube@philamuseum

The Philadelphia Museum of Art is Philadelphia’s art museum. We are a landmark building. A world-renowned collection. A place that welcomes everyone. We bring the arts to life, inspiring visitors—through scholarly study and creative play—to discover the spirit of imagination that lies in everyone. We connect people with the arts in rich and varied ways, making the experience of the Museum surprising, lively, and always memorable. We are committed to inviting visitors to see the world—and themselves—anew through the beauty and expressive power of the arts.

Thank you to The Philadelphia Museum of Art for the content of this post.

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Canopy, The Architecture of Francis Kere #donartnews #art #philadelphia #pma #architectureporn

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Vlisco

Vlisco: African Fashion on a Global StagePrinted Textile, 2005. Made by Vlisco, Helmond, Netherlands, founded 1846. Cotton plain weave, wax‑resist print, 12 feet × 47 1/2 inches (365.8 × 120.7 cm). Private Collection, ©Vlisco

Creative Africa, Vlisco: African Fashion on a Global Stage, Philadelphia Museum of Art

Through January 22, 2017

Ruth and Raymond G. Perelman Building

The Philadelphia Museum of Art celebrates West and Central African fashion and culture in an exhibition exploring the classic and contemporary looks of Vlisco, the oldest international textile brand that specializes in Dutch wax fabrics. From the earliest designs and most recognizable patterns, continuing through a selection of iconic styles that have been re-interpreted in a contemporary way, the exhibition will highlight a selection of the thousands of patterns Vlisco has produced for the African and diaspora markets.

Vlisco: African Fashion on a Global StagePrinted Textile, 2005. Made by Vlisco, Helmond, Netherlands, founded 1846. Cotton plain weave, wax‑resist print, 12 feet × 47 1/2 inches (365.8 × 120.7 cm). Private Collection, ©Vlisco

Dilys Blum, The Museum’s Jack M. and Annette Y. Friedland Senior Curator of Costume and Textiles and organizer of this exhibition, said: “The wax-printed fabrics long associated with Central and West Africa have a surprising history that is truly global.  Many of the patterns shown in this display tell stories and convey images that reflect Africa’s past and reimagine its future. For this special presentation in Philadelphia, we are celebrating the transnational character of Vlisco by showing the company’s classic designs, these classics re-imagined, and new contemporary patterns, sharing how fashion designers in West Africa and other parts of the world use Vlisco wax fabrics today.”

When cloth leaves the factory it is generally identified only by a stock number. The women who trade in the open-air markets in African cities, and their customers, assign the patterns names inspired by current events, politics, religion, and material culture. The exhibition explores the ways in which such patterns acquire social meaning, status, and value and become culturally assimilated into African society, and examine how designs can have many interpretations depending on where they are used.

Vlisco: African Fashion on a Global StagePrinted Textile, Late 20th century. Made by Vlisco, Helmond, Netherlands, founded 1846. Cotton plain weave, wax‑resist print, 36 × 47 1/2 inches (91.4 × 120.7 cm). Private Collection, © Vlisco

Among the classic patterns represented are the “Happy Family” egg motif, featuring an image of a hen surrounded by her chicks and chicks-to-be referencing the importance of family, and the “Fallen Tree” pattern that acts as a visual substitute for a proverb that teaches unity and strength in Ghana. The “Alphabet” design symbolizes the value that Africans place on education, and “Swallows”, a symbol of good luck, refers to the transience of riches. The classic “Swallows” pattern was worn by flight attendants for Air Afrique in the 1970s. The display will show how this particular pattern has been reinterpreted to include airplane imagery, a symbol of globalization.

Vlisco: African Fashion on a Global Stage“La Famille” Printed Textile, 1952. Made by Vlisco, Helmond, Netherlands, founded 1846. Cotton plain weave, wax‑resist print, 18 feet × 47 1/4 inches (548.6 × 120 cm). Private Collection, © Vlisco

Vlisco: African Fashion on a Global Stage“Angelina” Printed Textile, 1962. Made by Vlisco, Helmond, Netherlands, founded 1846. Cotton plain weave, wax‑resist print, 70 × 48 1/4 inches (177.8 × 122.6 cm). Private Collection, © Vlisco

The “Eye” pattern, one of the most enduring European designs for the African market, appears in the exhibition in multiple variations and colors.  The original design of 1904 by the Haarlem Cotton Company was inspired by the Egyptian god Horus, a symbol of protection, royal power, and good health.  Some of the eye patterns were intended to silently communicate and identify with a woman’s family and marital relationships.  In Nigeria, the original Haarlem pattern is known as “Eyes”. In Côte d’Ivoire, it is called “Bull’s Eye” and is worn by a woman to show a man that she desires him.  Also in Côte d’Ivoire, the classic “Jumping Horse” pattern expresses rivalry between co-wives.  In Nigeria, Igbo women favor this design for family to express unity at their annual women’s meeting.

Vlisco: African Fashion on a Global StageDazzling Graphics Collection, 2011, Made by Vlisco, Helmond, Netherlands, Photograph courtesy of Vlisco

The exhibition will touch upon the rise of the most successful market women in Togo, called the Nana Benz, who traded in wax prints beginning in the 1930s. The Nana Benz were essential to the success or failure of the designs.  Wholesalers to other market traders, the women provided Vlisco agents with information on customer preferences. In return, the women were often given exclusive access to certain designs.  A playful design featuring the Mercedes-Benz three-pointed star logo pays homage to these traders, as this was their car of choice and became a symbol of their success.  In another design, the Vlisco logo on the radiator grill replaces the car’s original trademark. 

Displayed on mannequins in the center of the gallery is an installation of contemporary designs using the wax fabrics as created by African, diaspora and other international designers. 

One of Nigeria’s foremost fashion designers, Lanre da Silva Ajayi, who is known for her ultra-feminine looks and elegant use of prints, has collaborated with Vlisco on numerous projects including a gala dress on view in the exhibition.  The designer’s ensemble is made in a limited-edition shimmering gold print embellished with the designer’s signature beads and sequins.

Owner and creative director Araba Stephens Akompi of the Ghanaian fashion house Stylista has reconfigured patterns showing a Spanish fan to create a flamenco-style dress with a distinctively African twist. Stylista sees this gala dress as an evolution of the traditional Ghanaian blouse with a matching skirt.

The exhibition features ensembles by Vlisco’s senior fashion designer from 2008 to 2016, Inge van Lierop, who was responsible for translating each seasonal concept into stylish ensembles used for marketing. A strapless, two-piece wedding dress made from two color ways of the same design is embellished with beads, as is the veil, which was embroidered in India. Deconstructed and made into a late 1960s-style mini dress that pays homage to the decade when the design first achieved popularity, the classic “Angelina” pattern associated with the dashiki a loose tunic worn by men and women is updated and re-colored in luminous pastels for a more contemporary look.

The fashions of Manish Arora, one of today’s most inspiring designers, fuse his Indian roots, global style, and contemporary popular culture.  This year, Arora has collaborated with Vlisco for his ready-to-wear collection shown recently in Paris and inspired by the American West.  For his ensemble on display, he has re-interpreted wax prints into knit fabrics. 

Ikiré Jones of Philadelphia, led by Nigerian-American menswear designer, Walé Oyéjidé, shows how the designs can be creatively cut and mixed together for unique looks.  His  hand-tailored trousers, and a jacket made of Vlisco fabric, are accessorized with a storytelling scarf.

Vlisco: African Fashion on a Global Stage

Vlisco: African Fashion on a Global Stage is one of five exhibitions in the Perelman Building this season, accompanied by related programs that feature a broad spectrum of the arts from across the African continent. They feature historical works of art as well as contemporary fashion, photography, design, and architecture. Each calls attention to the continuities and differences between African art forms over the centuries.

The related exhibitions are:

Look Again: Contemporary Perspectives on African Art, a major exhibition drawn from the collection of the Penn Museum (May 14 through December 4, 2016).

Threads of Tradition, focusing on the traditional patterns in West and Central African textiles and the techniques used to create them, including strip weaving, resist dyeing, piecing, appliqué, and embroidery (Through January 2017).

The Architecture of Francis Kéré: Building for Community, featuring a site-specific, immersive environment designed by this world-renowned Burkina-Faso-born architect (May 14–September 25, 2016).

Three Photographers/Six Cities presents an in-depth look at three photographers who create powerful pictures of African cities: Cairo, Egypt; Nairobi, Kenya; Lagos, Nigeria; Johannesburg, South Africa; Bamako, and Tombouctou (Timbuktu), Mali. From Akinbode Akinbiyi’s observation of urban centers and Seydou Camara’s examination of Islamic manuscripts to Ananias Léki Dago’s pictures of offbeat locales, the images offer unique perspectives on contemporary African experience (Through September 25, 2016).

Curator: Dilys Blum, The Jack M. and Annette Y. Friedland Senior Curator of Costume and Textiles

Location: Joan Spain Gallery

About Vlisco

Vlisco, founded in 1846, began exporting factory printed cloth to West Africa around 1876. Over the years Vlisco absorbed several Dutch textile manufacturers that also produced wax prints for the market prior to World War I. Today it is the last surviving European wax-resist textile manufacturer. The Vlisco brand is manufactured in Helmond, Netherlands and is the premier brand of the Vlisco group which includes three other brands, GTP and Woodin made in Ghana and Uniwax produced in Cote d’Ivoire. Each brand caters to a distinct segment of the market.

Social Media: #CreativeAfrica 

Follow us and join the conversation: Twitter/Facebook/Instagram/Tumblr/YouTube @philamuseum

The Philadelphia Museum of Art is Philadelphia’s art museum. We are a landmark building. A world-renowned collection. A place that welcomes everyone. We bring the arts to life, inspiring visitors—through scholarly study and creative play—to discover the spirit of imagination that lies in everyone. We connect people with the arts in rich and varied ways, making the experience of the Museum surprising, lively, and always memorable. We are committed to inviting visitors to see the world—and themselves—anew through the beauty and expressive power of the arts.

Thank you to The Philadelphia Museum of Art for the content of this post.

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Like

Kyle Confehr, GUSH Gallery

Kyle Confehr,  Just Because, Like, Gush Gallery, Jinxed West Philly

Gush Gallery co-founders Stephanie Slate and Sarah Thielke are pleased to announce the opening of artist Kyle Confehr’s Just Because, Like exhibition on July 2, 2016 at Jinxed (4521 Baltimore Avenue, Philadelphia, PA 19143) from 5:00 – 8:00pm.

Kyle Confehr’s ink on neon paper drawings focus on the absurdity of modern language, social media, irony, consumerism, and the passivity of modern culture. Reminiscent of 1980s New York City street graffiti culture and the political and pop art of Keith Haring, Confehr’s new drawings in Just Because, Like encourages, and often demands, the complete attention and involvement of the viewer. Through small details and images hidden throughout the work, in an almost seek and find game fashion, and coupled with the clichéd modern phrases and text speak, Kyle Confehr presents a commentary on the social media-ness of the world we live in.

Free beer and snacks at the opening reception! The exhibition runs through the end of the month at Jinxed West Philly.

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