Art galleries, shops, showrooms, lobbies, hallways, studios, warehouses, lofts, workshops, restaurants, coffee shops, schools, and any space where art is displayed in and around Philadelphia.
“The new work is called ‘RUINED’. Although I am a painter, these works are really constructions. I burn my old canvases and add bits of wood, tape, wire, screening and metal to create a seemingly random composition that actually works. A number of these pieces have a work on either side of the canvas. As I work on one exposed side off the canvas, inevitably the other side begins to take on its own life as well.It has been said of these works:
These works are so solid even though they are full of holes. By deconstructing the canvas itself, Schiff explores her vulnerability, which underlies the process of creation/ human endeavor and personal connection.” – Ellen Hallie Schiff
“When my work is going well it exudes an off-hand yet exciting quality. My paintings have been described as powerful, very emotional and strong.
Swaths of paint wiped away to reveal a ghost image beneath; more paint pushed around to create layers of history. The search for the elegant random shape all work in concert to form a new entity entirely.” – excerpt artist statement, Ellen Hallie Schiff
“The PII Gallery features work from around the world, focusing primarily on Eastern European and American contemporary art. On the first Friday of every month a new exhibition premieres, and the Gallery’s doors open to a crowd of international and local art lovers, as well as the casual passer-by. PII Gallery has developed a reputation for providing something otherwise unavailable in Philadelphias gallery district — a consistently strong selection of international artists working in textile design, printmaking, painting, sculpture and photography. PII Gallery has recently expanded to include an annex, devoted to showcasing local and international emerging artists. Located in a centuries’ old building in historic Old City the gallery is perfectly situated to serve people from a wide array of cultures.” – PII Gallery
The Monochrome Visions photography exhibition of silver emulsion prints is nothing short of a visual feast. This show features handcrafted black and white prints made by the students of Fleisher Art Memorial‘s ‘Art of the Fine Print’ class taught by the venerable Rick Wright. As a former member of Rick’s darkroom, I’m always amazed at the quality and nuances of the beautiful images produced by the talented individuals in this class. Fascinating and thought-provoking are the slices of life that are captured from each photographer’s perspective, and subsequently coaxed into physical manifestation through the combined magic of light, chemicals, and paper.
This exhibit contains approximately 40 photographs which adorn the walls of Red Hook Coffee and Tea arranged salon style on rustic brick. Each black and white image has an amaranthine quality and evoke simple yet powerful feelings of connection with the photographer. What was he or she thinking at this exact moment of capture? What message is being conveyed? Every piece – each moment – seems to have a special meaning to each photographer as he or she spent the time to enlarge, transfer, and develop each image to perfection on photographic paper. Simply put, the photograph contains an emotional investment of time and artistry.
Developing a picture in a darkroom for the first time is a timeless experience that everyone should experience at least once in their life. The cathartic feeling that you get when you first see an image appear on a once blank sheet of paper is simply magical and spellbinding. Nothing can compare.
Stop into Red Hook to see the Monochrome Visions exhibit between now and June 18th and experience it for yourself. Sit on a comfy chair in this charming cafe, enjoy a deliciously crafted Iced Honey Mint Latte or a tasty bowl of corn chowder, and allow the colorful panorama of Monochrome Visions to wash over your soul.
Submerging, Nile Livingston at Urban Art Gallery, 7/5/15
“I remember going to the beach with my family when I was little. My father was holding my baby sister as he walked through the ocean toward the horizon. I asked my uncle to pick me up and take me out to them. The water reached my uncle’s waist by the time my father turned around and noticed our approach. He yelled to his brother to take me back to the shore. I began to fuss in protest when my uncle dropped me. Under the salt water my eyes were wide open, fixated as I sank toward the deep pit beneath me. I felt calm as I slowly, peacefully drifted downward. I passed a starfish resting on a rock, perfectly lit by the sun’s rays under water. Still sinking, I reached out to touch it. My fingertips were less than a hair away from the creature when my body was ripped out of the water and I gasped for air as I’m back in my uncle’s arms. Back on the shore I spent the rest of the day playing in the sand.
There is so much to discover in this world. Consequently, my passions are extremely charged and my art is the by-product of human consciousness. Biographic interpretations of growing up in a home filled with rolls of drafting papers, collections of teapots, and acoustic instruments have inspired me to explore endless aesthetic propositions. I produce artworks in various mediums that include painting, drawing and sculpture. Themes present in my art range from genealogical dementia, loss, character encounters, decadence, and poverty. Similar to a public diary entry, each installation reveals pieces of an evolving story of who we are as people.
As I journey beyond the communities I’m most familiar with, into a more global existence I’d like to share my lessons from everyday masters, produce artworks that examine sources of anxiety, document interactions, shared memories, and provide evidence for narrative works that address social change, environmental deprivation, and technological advances.” – Nile Livingston
My mission is to promote self expression and fulfillment. There is so much to see and learn about, and for that my passions are extremely charged and my artworks are the by-product of human consciousness. Similar to a public diary entry, each installation reveals pieces of an evolving story of who we are as people. – Nile Livingstonartist statement
Founded in an effort to bridge art and the urban community, Urban Art Gallery‘s goal is to create an exciting venue where emerging artists can exhibit and sell their work. Through this, Urban Art Gallery looks to stimulate appreciation and participation in the arts, by showcasing unique and inspirational creations, which include but are not limited to, poetry showcases; live performances; youth workshops; and private events. – About Urban Art Gallery
Summertime, 10th Annual Community Juried Art Show at Off the Wall Gallery at Dirty Franks, NE Corner, 13th and Pine Streets, Philadelphia, May 31st through July 31st, 2015. Artist reception June 4th, 7:00 – 10:00pm.
As a native Philadelphian, I’d never visited the Eastern State Penitentiary, which is attributable to my own design as well as lack of desire. Known as America’s most historic prison, Eastern State Penitentiary was once the most famous prison in the world due to its grand architecture and strict disciplinary practices. Notions of such harsh discipline, imprisonment, and being confined to small spaces renders fear and paralysis in my mind. However, after learning about the May First Friday unveiling of several artists at the ESP, this art enthusiast felt it was a perfect time to make the guarded effort to see this well-known space.
I was especially intrigued after reading about the installation ofJesse Krimes, entitled Apokaluptein 16389067: II. Jesse is a Philadelphia-based artist, who was indicted by the U.S. government on non-violent controlled substance charges, and served a 70-month federal prison term. While serving his term, Jesse produced a breathtaking and evocative 39-panel landscape on bedsheets. His process is just as magnificent: Jesse transferred cutout images from the New York Times using a plastic spoon and hairgel he had purchased from the commissary. He used the spoon to press the sheet and hairgel onto the newspaper cutout which resulted in an inverse image on the sheet. Lastly, the images were blended together with color pencil. With the help of prison guards who had supported his work, he was able to store the sheets in a prison locker before having each panel mailed home piece by piece upon completion. Jesse kept a running dialogue in his mind of each of the sheets, as he didn’t see the entire grouping of panels until his release.
In it’s original iteration, Apokaluptein16389067 is 15 feet tall and 40 feet long. The images are a grouped according to three major sections: the bottom represents Hell, the middle portion is a depiction of Earth, and the upper portion signifies Heaven. A facsimile of the original is on display along the interior walls of an abandoned cell at the ESP. I spoke with Jesse about his artistic process, and he explained that the current installation was made by scanning the original bedsheets onto a large scanner and making a large print. He then made a copy of the large print (to mimic the inverse images that appear on the bedsheets due to the transfer) and affixed those pieces onto the walls of the prison cell exhibition space using hand sanitizer and a sealant. Jesse feels that this project has reached it’s zenith in as it’s final iteration at the Penitentiary.
This installation is a brilliant collage of color, form, and text. The texture is reminiscent of decoupage or encaustic painting. In their entirety, the panels serve as an artistic time capsule.
The original title, Apokaluptein16389067, references the Greek origin of the word apocalypse which means to reveal; by definition, it is a cataclysmic event. The numbers reference the artist’s Federal Bureau of Prisons identification number. Of all the works on display at this First Friday event, I felt especially compelled to see this exhibit as I am both amazed and in awe of the power of human resilience. Last year, I read wonderful meme that has since stuck with me: “When written in Chinese, the word ‘crisis’ is composed of two characters. One represents danger and the other represents opportunity”. Jesse Krimes‘ work is the epitome and personification of this proverb. I hold much admiration for his creative self-motivation in making this impressively transcendent work of art during his own personal apocalypse.
