Category Archives: InLiquid

Digging

As By Digging

As By Digging, Jaime Alvarez, Olivia Jia, Michelle Marcuse

InLiquid @ The Painted Bride

As By Digging features three artists—Jaime Alvarez, Olivia Jia, Michelle Marcuse—working in distinct media, whose works suggest an archaeological position to their subjects. Materials are used to draw out contradictions in our relationships to things and spaces with unclear origins: Photographs pronounce their subject with a different accent; paintings reflect on tangible objects without pointing us in the direction of where exactly we are; cardboard is put together to seem like lumbering parts reclaimed from a shipwreck. Split personalities can be sensed in the work, and each of the artists use their medium to collapse the distance between what we expect something to be and our fantasies of how it actually performs. The Indiana Jones franchise is a useful comparison in popular culture, in which the medium of film is a bridge between an intellectual’s quiet scholarly pursuit and their alter ego’s perilous adventure.

In contrast to an action movie, the excavations here unfold more quietly and without black and white good and bad guys. Jaime Alvarez’s photographs of small, synthetic figurines appear giant and alive; Michelle Marcuse’s bits of cardboard and glue take on machinic obscurity; Olivia Jia manipulates paint illusionistically in an idiosyncratic approach to cataloging personal documents and art history fragments. Amidst these approaches, we become conscious of our connection to a vast lineage of human remains, and the strange moment when our distance to these emergent totems is both closed and accentuated.

Jaime Alvarez’s work introduces us to some of the fundamental poles of the photographic medium. His large prints of uniformly painted figurines, trinkets, and other left-behinds, in either jet black or white, offer a sumptuous version of familiar things while they remain at the distance imposed by their singularity and iconized stature. Amidst these delectable yet cold memento mori, there appear straightly documented rooms of an empty, crumbling home. In their quiet, irreversible decay, we find we can pay attention.

Olivia Jia calls on the sleight of hand in painting to place us into an object’s space. Curious specificity meets ambivalent setting. Busts of classical, familiar statues are captured in a moment of focus, and provide little context for their inner fracturing. Fragments of personal ephemera, art historical reproductions, and more abstracted yet referential piles of historic matter are similarly reverent yet concise in what they appear to describe.

In the cardboard and glue sculptures of Michelle Marcuse, we encounter flexible understandings of reverence and delicateness. That which is flimsy is not necessarily weak; lightness in weight is not bound to a lightness in being. Her objects, while small in stature, imply something grand, aged and important, and indeed heavy. Each one is a space that is found out, by a process of physical conflicts and resolutions with the material. We come to detect them, not by a definitive allegation from their author about their personalities, but by the clear relationship between the object and the hands constructing it.

The Painted Bride Cafe Gallery, 230 Vine Street, Philadelphia, PA 19106

Hours: Tuesday – Saturday, noon – 6:00pm

As By Digging: November 1, 2017 – December 16, 2017

Reception Dates: Friday, December 1, 2017 · 5:00 pm–7:00 pm

Thank you to Michelle Marcuse for the content of this post.

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SIMULATE – PERMEATE

Simulate - Permeate, Rowan University Art GalleryInstructions to the Internet, Christopher McManus

SIMULATE – PERMEATE

Exhibition examines materiality, experience, and authorship in technology-based art.

Glassboro, NJ – Rowan University Art Gallery presents Simulate – Permeate from January 20 to March 7, 2015 with a reception and artist’s talk on Wednesday, February 11 from 5:00 to 7:00 pm.

Curated by Mat Tomezsko, Curator and Program Manager at InLiquid Art & Design, the exhibition features the work of eight Philadelphia-based artists and artist groups making innovative use of new media that collectively examine concepts of materiality, experience, and authorship in technology-based contemporary art.

  • Lyn Godley makes use of naturally occurring responses to particular light wavelengths and imagery in her photographs of water, which are altered digitally and threaded (by hand) with optic fiber and lit with LEDs to achieve an undulating effect.
  • Juggling Wolf, a multidisciplinary collective dedicated to creating video and animation that is technically challenging and visually rewarding, offers two versions of a new video: one full length playing in the gallery and a shorter version broadcast across campus using the technological infrastructure of the university.
  • Christopher McManus’ work is a sculpture and a 20 second video that plays in reaction to the audience’s interaction with the sculpture, which is a piece meant to be a physical representation of the internet: friendly, cute, and enticing while simultaneously being completely repulsive, mean-spirited, and horrifying.
  • A collective of artists, engineers, and designers dedicated to bringing engaging and empowering art to the public, and to encouraging a sense of ownership to community spaces, New American Public Art has created an encounter with a monitor of a live video feed with a temporal delay. The delay is just long enough to create a disconnect, yet remain familiar as viewers are faced with images of themselves from the near past, but just beyond immediate memory.
  • Maria Schneider’s work begins with a pencil on paper drawing, which is then scanned and laser printed onto layers of polycarbonate and illuminated with LED light. The drawings evoke a common experience and a familiar medium, but are transformed by the technological process to become something new.
  • Jody Sweitzer’s outdoor sound and video installation is triggered by the movement of pedestrians on the patio after dark. The seemingly sinister messenger subverts the familiar recitation of the Pledge of Allegiance and emphasizes the tendency to insert religion into what is supposed to be a secular context.
  • Chris Vecchio’s work is about interaction and meant to be touched, and contains more than 500 samples of audio that can be triggered by the angle of movement, ensuring that every interaction between the viewer and the sculpture is unique and questions the traditional role of the art object.
  • TangenT is an artist collective dedicated to mixed-media, project-based immersive art environments exploring socially relevant and politically current themes. At Rowan, their immersive installation of disparate physical, visual, and sound elements seeks to examine the simultaneous connection and disconnection of experience, perception, and knowledge using government reporting on individuals and institutions as a meditation on information control, privacy, and truth.

Simulate - Permeate, Lyn GodleyLyn Godley, Waterwall

InLiquid Art & Design is a nonprofit organization committed to creating opportunities and exposure for visual artists while serving as a free, online public hub for arts information in the Philadelphia area. By providing the public with immediate access to view the portfolios and credentials of over 280 artists and designers via the internet; through meaningful partnerships with other cultural organizations; through community-based activities and exhibitions; and through an extensive online body of timely art information, InLiquid brings to light the richness of our region’s art activity, broadens audiences, and heightens appreciation for all forms of visual culture.

Admission to Rowan University Art Gallery, talks and reception is free and open to the public. Regular gallery hours are Monday – Friday, 10 am to 5 pm (with extended hours on Wednesdays to 7 pm); and Saturday, 12 to 5 pm.

Rowan University Art Gallery is located on the lower level of Westby Hall on the university campus, Route 322 in Glassboro, NJ. Directions can be found on the gallery or university websites. For more information, call 856-256-4521 or visit www.rowan.edu/artgallery.

This program is made possible in part with funds from the New Jersey State Council on the Arts.

Thank you to Mary Salvante for the content of this blog post.

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Dialogic

Artists explore the internal contradictions, hidden meaning, and implicit ideologies of language Glassboro NJ: Rowan University Art Gallery presents Dialogic a multi-media group exhibition of work by artists that explore the internal contradictions, hidden meaning and implicit ideologies of language as a critical component of their practice from September 3 through October 8 – 8 pm followed by a spoken word event at 8:30 pm. Both events are free and open to the public.

Curated by Gallery Director, Mary Salvante, the exhibition includes work by Jenny Holzer, Glenn Ligon, Jaume Plensa, Lesley Dill, John Giorno, Keith Brand, Erik den Breejen, DataSpaceTime, Bang Geul Han, Barbara Hashimoto, Meg Hitchcock, Dawn Kramlich, Melanie McLain, Ben Pranger, Buy Shaver, Chris Vecchio and Sue White. How language is perceived, communicated, and translated is informed by the visual qualities and symbolic power of the texts, words, and poetic phrasings incorporated into the video, sound-scapes, interactive tech-works, sculpture, paintings and works on paper included in this exhibition.

Works by Jenny Holzer, Glenn Ligon, Buy Shaver, and Dawn Kramlich reproduce text as aphorisms, precepts, and dictums to influence the thoughts and actions of the viewer.  John Giorno’s ground breaking Dial-A-Poem project, Keith Brand’s exterior soundscape, Melanie McLain’s performative video, DataSpaceTime’s  QR code mural, Bang Geul Han’s motion activated video and Chris Vecchios public art action and interactive works focus on the physical and aural complexities of language.  The sculpture, paintings, works on paper, and installations by Lesley Dill, Jaume Plensa, Barbara Hashimoto, Meg Hitchcock, Erik den Breejen, Ben Pranger and Sue White deconstruct  and recontextualize language through reimagining systems of communication found in advertisements, books, braille, poetry, Morse code and scripture.

Admission to the gallery is free and open to the public. Regular gallery hours are Monday – Friday, 10 am to 5 pm (with extended hours on Wednesdays to 7 pm); and Saturday, 12 to 5 pm. For more information, call 856-256-4521 or visit www.rowan.edu/artgallery. Rowan University Art Gallery is located on the lower level of Westby Hall on the university campus, Route 322 in Glassboro, NJ. A public reception will be held on Thursday, September 12, 5:30.

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Afghan Sentry, Melissa Maldonni Haims, InLiquid

Melissa Maldonni Haims, InLiquid Art & Design

Melissa Maldonni Haims, Afghan SentryInLiquid Art & Design

So, let’s talk about the big pink phallic symbol in the room. The Ice Box Gallery is so big it can overwhelm some artworks and the InLiquid Benefit Auction features hundreds of artworks by Philadelphia’s finest artists. How do you stand out in the crowd? Afghan Sentry by Melissa Maldonni Haims, an enormous soft sculpture crocheted with an unfathomable amount of pink yarn managed to photo-bomb everybody else like an art exhibitionist. The shape of the piece, the color and the, um, tassel isn’t just a dick joke, the symbolism comments on the male gaze in the art world and society’s obsession with sex and the struggles of women artists in particular.

Every element of the piece is loaded with coded information from the mathematical equations required to shape the afghan to the lurid hue of pink – just the word is a meme for modern society – to the domination of the space with the use of scale. Afghan Sentry mixes meta-magical thinking with craft, history and uncanny truth.

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Written and photographed by DoN Brewer.

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InLiquid Art + Design Benefit V

InLiquid Benefit v.13, Friday, February 15, 6:30 - 9:30 pm

Buy Tickets to InLiquid Art + Design Benefit V