Nature’s Daughters: Solo Art Exhibition and Networking,
Jessica Libor, Da Vinci Art Alliance
Enjoy original artwork and creative networking at this unique event. See Jessica Libor’s new pieces in her solo exhibition “Nature’s Daughters,” on view for one night only at the Da Vinci Art Alliance on Wednesday, September 4th from 5-8pm. Celebrate women with Jessica’s art and also with networking expert Jennifer Lynn Robinson. Men are also welcome to attend!
“I want to show the glamour of nature. Whenever I am outdoors in the wild, I feel the most beautiful and free. I don’t think I am alone in this experience. What I wanted to do was show this feeling visually. I want people to be swept away in a gorgeous fantasy of the absolute magic that nature weaves sometimes. I painted women because it felt like a natural expression of nature—like the earth, the feminine can have many sides to it, can bring forth new life, and often express their beauty by decorating themselves…something I am interested in drawing a correlation with.”
Jessica Libor graduated from the Pennsylvania Academy of the Fine Arts in 2014 and has been painting, curating and writing since. Find out more at www.jessicalibor.com.
At 7 PM, Jessica will say a few words about the artwork, and Jennifer Lynn Robinson, Esquire of Purposeful Networking will provide her 5 best tips for women to network more strategically. You will also be able to ask Jennifer your networking questions one on one. Find out more at https://www.purposefulnetworking.com/.
There will be light bites and drinks provided. This event is free for all and open to the public! Registration is encouraged.
YOUNG AT ART 3, Off the Wall Gallery at Dirty Frank’s
Looking for an art show that’s a breath of fresh air? Perhaps one where the artists’ love of creativity shines through — no agenda, just passion? LOOK NO FARTHER.
THIS SUNDAY, AUGUST 18, 1 to 4 PM, we will gather to welcome 22 very young artists to OFF THE WALL. They are the forces behind YOUNG AT ART 3, the newest edition of the occasional juried show we inaugurated in 2013.
Our Opening Reception will put a kid-centric twist on our normal light hors d’oeuvres — pizza, fruit salad and juice boxes, plus mini-cupcakes from our friends and neighbors at SWEET BOX — and you’ll have the chance to meet more than half the artists.
Our creatives run the gamut in age from 3-4 years old — AUGUST KILLE, STEFAN NAU and ORLA VECCHIO — up to 11 and 12 — including JAYDEN O’HALLORAN, MARY MINEI and YOUNG AT ART veterans KYLIE GROVE, MO HINCHEY-MODGLIN, SKYLAR WILLENBORG and EMI and NOA TRAVALIA.
The Travalia girls also remind us that this time around we’re showcasing sibling synergy with five such sets: EMI and NOA, ISE and SAJ EVANS MCNALLAN, DARIUS and STEFAN NAU, A.J. and SADIE PENNINGTON and CORMAC and ORLA VECCHIO.
Across their work — ranging from paintings and drawings in oil, acrylic, watercolor, colored pencil, charcoal and oil stick, to photography and collage to August’s whimsical sculpture, which takes flight in our 3D case — you witness SHEER JOY.
It buoys our firm belief that each and every person is BORN TO CREATE. The love of art and art-making is genuinely innate. Life erodes this instinct rather than reinforce it — unless we lift up an artist as early as possible.
So come join us as much to elevate as to celebrate. And if your party includes other kids, more power. Yes, normally you would be carded — but not for these three hours and a little bit more (unless you order alcohol). Let’s take in great art and have fun! See you Sunday, Togo
Togo Travalia Manager OFF THE WALL GALLERY at Dirty Frank’s, NE Corner, 13th & Pine Streets, Philadelphia, PA, 19107
gravy. 910 North 2nd Street, Philadelphia, PA 19123 · 267.825.7071
Exhibition Dates: June 7 – 29th, 2019
First Friday Opening Reception: June 7th, 6 – 10pm
Sponsored by Powers Whiskey and Music by Mother MaryRose
Nolibs Second Saturday, June 8th, 1 – 5pm
Artist Brunch and Open Hours- Saturday June 22nd 1-5pm
Saturday Open Hours – 1-5pm and by appointment
Documenting objects with photography slowly transformed into its own artform with artists like Man Ray, Duchamp, Hans Bellmer, creating pieces which intertwined the two mediums. This exhibition at Gravy is titled; Beauties of the Common Tool, references Walker Evans’ famous portfolio of photographs of ordinary tools in the 1950’s. Today everyone used a new “common tool”; the photographic camera to document their lives and manipulate their world into art. While digital technology has created imagery only used on a screen; this exhibition hopes to explore ways photographers are using materiality, the body, textures, objects, and installation to create multi dimensional pieces which expand our definition of photography.
One theme throughout the work in this exhibition is the ability of the photographic objects to create multiple views for the viewer depending on the lighting and position of the pieces. Roxana Azar’s work is influenced by science fiction, plant intelli-gence, anxiety, and floral design. In the Projections in the Last Greenhouse series, botanical images from greenhouses and conservatories are applied to reflective and colorful surfaces that allow sunlight to pass through, creating shadowplay and reflections that shift and create vivid colorful shadows, fluorescence, and prisms depending on the angle and quality of light. They say, “I used to focus a lot on digital manipulation in my photographs, but now the materials I tend to use result in some sort of distortion and manipulation when viewing an image, whether it’s acrylic, mesh, or fabric. My fascination with these materials is that it shifts in color or shape as you move around it, so you’re never experiencing the surface in the same way.”
Glass artist, printmaker, and photographer; Jen Blazina creates ornate frames for her photographs of plaster sculptures set in nature. This installation titled Menagerie is a combination of cast glass frames, glass flowers, and dye sublimation photographs on metal. She says, “The photographs were taken from an ephemeral site-specific installation which I created for Djerassi Artist Residency in Woodside, CA. As a little girl, the forest and animals entranced me. Having grown up in a city, the forest seemed like a magical place where fairy tales came alive. Menagerie alludes to a dream like memory by using my sculpture in my photography and the elegance of glass baroque styled frames embellished with wild flowers.
In the collaborative works between Will Douglas and Matthew Drennan Wicks, the physical process of manipulating porcelain is fused with the digital process of image making. The flat, hand-built surface of a vessel becomes a screen for image on which to present a photographic image. The work vacillates between three- dimensional and two-dimensional space as both image and object work together to create tension. The artists are interested in the commercial and mass reproducibility of both images and objects; the hand-built vessel pushes against the immediacy of digital imaging. Establishing a new relationship between the two drives the traditional conventions of both materials into a new dialogue about the consumption of images and the viewing of objects.
Created during a 2017 residency at a recycling center in Northeast Philadelphia, Maria Möller’s project One Last Time is a lens-based meditation on mortality, joy, and second chances. She developed a visual narrative that compares life cycles with waste cycles, salvaging six objects from Revolution Recovery and pairing each with a person in her life who is living in an especially close proximity to their own mortality. Working collaboratively with each participant, she staged a photo shoot during which the discarded object could fulfill its purpose “one last time.” After this shoot, another took place when the participant traveled to the recycling center and returned their object to the waste stream.
The images included in this exhibition by Cecilia Paredes are reminiscent of surrealist imagery while her use of pattern and color reveal her ties to Peruvian culture and visual vernacular of womanhood. Paredes composes these photographs by selecting a patterned ground, such as floral wallpaper, and intricately paints her skin to match. Paredes says about her work, “Part of what makes us human is our ability to see beyond the narrow door through which we enter the world—to grow beyond the culture of our birth by recognizing other cultures, other patterns of life. Yet our birth culture is always imprinted upon us; the mystery of identity is never fully resolved. We are always from a time and place to which we can never return”
Makeba “Keebs” Rainey also uses the body, textures, and color to create photographic collages which are printed on fabric. The piece in this exhibit is titled ‘Souls of Philly: London’ where the artist uses collage and statements from the subjects to share insights into her community with the audience. Rainey’s creative practice focuses on building community and what that looks like. For her, community is an extension of family. By centering her work around social justice, specifically in regard to Black Americans, community becomes the key to liberation. Her artwork taps into aspects of the Black community, merging the old with the new by re-envisioning the ancestors through new media and creating space for young creatives to build and sustain themselves.
Thank you to gravy. for the content of this post.
LikeDoNArTNeWs Philadelphia Art News Blog on facebook
Art Ability at Bryn Mawr Rehab Hospital will be participating as a host gallery stop along the tour route for the annual Chester County Open Studio Tour! Guests are invited to view and purchase works by four local “pop-up studio” artists, as well as shop our Art Ability consignment collection. We will be featuring artists Linda Killingsworth, Emily McGuigan, Kathryn Noska and Meg Quinlisk. Collection tours are also available.
There are 143 artists and 63 studios participating on the tour this year. We have partnered with businesses and other supporters of the arts in the community to offer a variety of ways to see and collect art.
It is not an exclusive club and there are no membership fees or dues. Just come out and enjoy our one weekend of open studios.
Plan your day and get out early to ensure you have art on your walls by Monday!
Philadelphia native, John Singletary, is a fine art photographer and multimedia artist. His educational training includes both Drexel University and a BFA in Photography from The University of the Arts, Philadelphia, PA. He has exhibited at The Pennsylvania State Museum of Art, LG Tripp Gallery and The James Oliver Gallery. As well, his work is represented in the permanent collections of the Philadelphia Museum of Art, The Center for Fine Art Photography and The Haverford College Archives.
Anahata is a photographic exhibition that uses its mode of presentation to transcend the limitations of the medium in a multi-disciplinary installation experience. Photographs are animated through multiple state-of-the-art OLED panels used as electronic canvases. The technology is synchronized to create joined, large format displays, some forming 8′ x 8′ luminous squares or a 30′ Greco-Roman frieze-inspired composition. Images materialize out of walls and recede back into darkness, as would apparitions in this oddly familiar living space. These and other works are set to original music composed by John Singletary and Matt Hollenberg.
While the ambition in Singletary’s presentation is of distinct merit, it’s not mere technology doing the real work. The photographic quality in his highly ornamented images demonstrates a conscious and masterful use of the medium. Influenced by a production approach found in theater and cinema, Singletary and his crew built a black box studio in a Victorian house in Germantown, PA as a set for the photography in Anahata. This long term collaborative project enlisted dancers, theater performers, costume designers, make-up artists, choreographers and set technicians. And, in this black box studio, the dream-like imagery, extracted from mythology, symbolism and mysticism directs the narrative in Anahata as it explores human relationships and their connection to the divine.
In John Singletary’s inventive world of Anahata, the artist commands an ancient cry from demons and gods in spear-decorated headdresses and cocoon-like webs that conquer and connect us. From there, he uses an advanced understanding of technology to move forward seamlessly into a hyper-lit future. With his sensitivity in making this unique grand scale production personal and through his exacting print work, the fantasticality in Anahata becomes very real.