A collage (From the French: coller, to glue) is a work of formal art, primarily in the visual arts, made from an assemblage of different forms, thus creating a new whole.
A collage may include newspaper clippings, ribbons, bits of colored or hand-made papers, portions of other artwork, photographs and other found objects, glued to a piece of paper or canvas. The origins of collage can be traced back hundreds of years, but this technique made a dramatic reappearance in the early 20th century as an art form of novelty.
The term collage derives from the French “coller” meaning “glue”.[1] This term was coined by both Georges Braque and Pablo Picasso in the beginning of the 20th century when collage became a distinctive part of modern art.
Contents
Calo Rosa – Fiorenza at Philiput at SOSNA, Philadelphia
Liliput is a house that is restructured to become an experimental art gallery, residence and artistic workshop; a multidisciplinary space that opens its doors in Puebla, Mexico. Liliput has exhibited international experimental contemporary art for 6 years now.
Philiput is an extension of Mexico’s Liliput though in Philadelphia, Philiput is a nomad art space currently housed at SOSNA at 1901 Washington Ave.
Soon Calo Rosa will exhibit as well at Liliput in Mexico. His exhibition at Philiput at SOSNA in Philadelphia, as well as his upcoming exhibition at Liliput Xperimental Gallery in Mexico are both curated by Rebeca Martell and Devin Cohen.
Linda Dubin Garfield’s Solo Exhibit Benefits Women International Leadership
In 2020, as the Covid-19 pandemic swept the globe, Linda Dubin Garfield cancelled her travel plans and instead spent time reminiscing about her past travels. In a typical year, Garfield travels during the summer months and returns home to create artworks using the impressions left by these landscapes and cultures. Garfield has spent decades creating mixed media collages inspired by her travels to 37 countries on every continent. Instead of traveling this year, she spent her time working on a new body of mixed media work that reflects on the memories associated with her past expeditions.
Footprints: Travel Landscapes is a selection of new work by the artist, curated like a map that touches each of the 7 continents she has visited. The Da Vinci Art Alliance, 704 Catharine Street opening/birthday party is May 13, 5- 8 PM. The exhibit runs until May 30. For appointments visit www.davinciartalliance.org/footprints.There will also be a virtual opening and exhibit at the DVAA website.
Linda Dubin Garfield, Landscape Remembered
In lieu of birthday gits, Linda asks the people make a donation to Women international Leaders at www.will-pa.org whose mission is to invest in underserved women globally who take the lead in becoming self-sufficient, elevating their families and communities. A percentage of sales will also benefit WIL.
Linda Dubin Garfield’s abstract and dynamic works use multiple layers of ink that waver between background and foreground to create a fusion of surface design and abstract expressionism. Using hand-pulled printmaking techniques, photography, collage and digital imaging, she explores the mystery of memory and the magic of place, inviting viewers to observe the world through her “mind’s eye.”
Linda Dubin Garfield, Namibia Remembered
Linda Dubin Garfield is an award-winning printmaker, the founder of ARTsisters and smART business consulting, and sits on the board of several nonprofits. She also offers memoir art-making workshops at several organizations like Philadelphia Parks and Recreation Centers for Older Adults, Simpson House and Atria Senior Living. Linda Dubin Garfield has hosted charitable birthday celebrations since the untimely death of her dear friend 15 years ago. In lieu of birthday gifts each year, Garfield collects donations for nonprofits that she supports and that match her annual art theme. Some charities are Family Support Services, Locks of Love, Women in Leadership, Breastcancer,org, and the Dementia Society. She has raised over $15,000 for various charities since 2006. ###
Ebb & Flow, Sarah R. Bloom and Rosalind Bloom at Da Vinci Art Alliance
Ebb and Flow
Ebb & Flow, Sarah R. Bloom and Rosalind Bloom at Da Vinci Art Alliance
Nature reclaims what is hers. Whether by destructive or creative measures, nature repurposes. In the two-woman exhibition, Ebb & Flow, abandoned spaces become renewing entities and collage landscapes become sites of infinite possibilities. Through photographs and mixed media collages, Ebb & Flow celebrates nature’s force and vitality. Sarah R. Bloom’s excursions to abandoned spaces capture growth among the rubble and hope amidst the decay of manmade structures.
Sarah Bloom, How Am I Not Myself?
By exploring these places and staging her photographs, Sarah R. Bloom forms a sense of kinship with the space and captures the comforting process of the earth reclaiming what is hers. Her photographs form a bridge to Rosalind Bloom’s work which presents natural elements abstracted into beautiful collages, the very work a repurposing of the old. Rosalind Bloom’s mixed-media collages of nature acknowledge and celebrate nature’s force, its antic energy, and its mystery. She restructures and reclaims the boundaries of the image, while demonstrating the inevitability of the earth reclaiming her space. Ebb & Flow reminds us that we are all here temporarily, and that nature will always prevail.
Rosalind Bloom, A Lovely Day in the Garden
Ebb & Flow will be on view physically by-appointment February 18th – March 7th 2021 at Da Vinci Art Alliance and as a recorded video tour on the Da Vinci Art Alliance website.”
Sarah and I will have the opportunity to speak about the work during the Zoom session. We hope you can join us! Roz
Pygmalion, Roberta Gross, Shapes and Colors of Summer in July, The Plastic Club
Shapes and Colors of Summer in July ONLINE MONTHLY EXHIBITION AT PLASTIC CLUB
The Plastic Club’s building is closed, but the Club is resuming its regular schedule of monthly shows with an online exhibition devoted to the shapes and colors of Summer.
The Summer show opens Wednesday, July 1. The art can be viewed on the Plastic Club‘s website (www.plasticclub.org) then. There will also be one of the Club’s “Third Sunday” online Salons with discussion about the exhibit on Sunday, July 19, from 1 to 2 PM.
Entries can be realistic or abstract, based on reality or your imagination, or any combination of these approaches. Any medium is accepted. Physical artwork must be submitted in the form of a photograph or video. A reasonably clear cell phone photo or video should suffice. As always, original digital imagery, photography and video are also welcome.
Due to the building closure, we have devised a simple method to submit your photograph, image or video along with your contact information. For detailed instructions, see the “Call for Submissions” on the Exhibitions Tab of the Club’s website, www.plasticclub.org.
A lottery will select three entrants to win a prize: four free workshop sessions when the Club re-opens.
The Plastic Club, located on historic Camac Street, was founded in 1897 by a group of women artists to promote the arts to the public and support artists both in the Philadelphia community and beyond.
Ulla-Stina Wikander, Installation: After Work, 2018, Swan Chair, Table, Lamp, Shoes, Bag, Small Bag, Thermos, Books, Embroidery, Bag for Yarn, cross-stitch on found objects, mixed media.
Obsolescence, Ulla-Stina Wikander, Paradigm Gallery + Studio
Exhibition Dates: October 25 – November 23, 2019
Opening Reception: October 25th • 5:30 – 10pm
Paradigm Gallery + Studio (746 S 4th St) is pleased to present Obsolescence, a solo exhibition by Sweden-based artist Ulla-Stina Wikander, open October 25 – November 23, 2019. The artist’s first solo exhibition in the United States, Obsolescence, features new works from Wikander’s well-known series of household objects covered in colorful, vintage embroideries. Obsolescence will have a public opening reception on October 25 from 5:30 – 10:00pm.
Wikander began collecting vintage embroideries 15 years ago in antique stores and flea markets, initially attracted to the intricate designs of needlework textiles. Although Wikander was traditionally trained as a painter and sculptor, the unknown histories of the women who made the embroideries interested her and she began experimenting with her new collection.
Wikander’s earliest experimentation with textile began with covering a broken vacuum cleaner she had laying around in her home. Through a meticulous process of deconstruction and reassembly, she transformed the anachronistic tool into something visually absorbing and entirely new, giving the vacuum a new reason to exist. Although not all of the objects Wikander covers are broken, they’re all out-dated. Through Wikander’s process, these retro items are transformed and recycled into fully contemporary sculptures.
On her practice Wikander says, “It is rather new for me to be a part of the textile community because I have always regarded myself as a painter and sculptor. While I do not embroider myself, I am always very meticulous when I choose my patterns. Embroidery is very hard to find nowadays, so I often travel to small towns in Sweden to find them. I have a big collection with hundreds of embroideries, organized into boxes by motif. I do not know if it is accepted among textile artists, to cut embroideries into pieces, but I think my work is a bit different. I always have a bad feeling that I am destroying a beautiful embroidery that someone else has made, but the recycling of something forgotten also feels current and good”.
The latest artworks included in Wikander’s Obsolescence exhibition are suffused with humor and critical explorations of feminism, domesticity, and upcycling. Her intricate textile constructions are shaped by the forms that lie underneath – including irons, blow dryers, shoes, bags, lamps, books, and phones. Freshly adorned in coverings of flowers, animals, and pastoral scenes, the items transcend their former functionality and are simultaneously revelatory and recognizable. Wikander’s vibrant reappropriations are evocative formal studies that defy categorization and illicit equal parts dissonance and delight.
Obsolescence, Ulla-Stina Wikander, Paradigm Gallery + Studio
About Ulla-Stina Wikander Ulla-Stina Wikander was born 1957 in Kungälv. She is currently living in Stockholm/Kullavik, Sweden and has been working as an artist since 1986. Wikander has shown extensively around the world in solo and group exhibitions including shows in the United States, Sweden and the UK.
About Paradigm Paradigm Gallery + Studio® exhibits contemporary artwork from around the world with a focus on Philadelphia-based artists. Established February 2010, the gallery began as a project between co-founders and curators, Jason Chen and Sara McCorriston, as a space in which to create artwork, to exhibit the work of their peers, and to invite the members of the community to create and collect in a welcoming gallery setting. To this day the gallery still aims to welcome all collectors, from first time to lifelong, and continues to support accessible work that welcomes a wide audience.
Location: Paradigm Gallery + Studio®, 746 S 4th St., Philadelphia, PA, 19147 Media Contact: Lainya Magaña, A&O PR lainya@aopublic.com
Thank you to Madison Fishman for the content of this post.
LikeDoNArTNeWs Philadelphia Art News Blog on facebook
