Category Archives: Multimedia Art

Multimedia art is drawing, painting, photography, video, eb design, music, sound design, experience design, information design…

Food

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How Food Moves: Edible LogisticsImage: Amber Art and Design, Corner Store Project

How Food Moves: Edible Logistics

Amber Art & Design / Ryan Griffis & Sarah Ross
Brian Holmes / Otabenga Jones & Associates / Cynthia Main
Claire Pentecost / Philly Stake / Stephanie Rothenberg
Candice Smith with Freedom Arts / Kristen Neville Taylor

Daniel Tucker, Guest Curator, Graduate Program Director in Social and Studio Practices at Moore College of Art and Design
March 27 – May 27, 2017
Public Program and Reception: Thursday, March 30, 2017, 6:00 – 8:30pm
Our public program begins at 6:00 pm followed by the reception
Rowan University Art Gallery, 301 High Street West, First Floor, Glassboro, NJ 08028
Admission to the gallery and reception is free and open to the public.
The public program begins at 6:00 pm, led by guest curator Daniel Tucker in dialogue on art, geography, and agricultural planning with Professor Megan Bucknum Ferrigno from Rowan University’s School of Geography and Environment, and with exhibiting artists.

Artists explore the US food supply chain and its complex patterns of distribution in between the point of origin (the farm) and its point of consumption (the plate). The exhibition aims to highlight the work of contemporary artists grappling with the complexity of this movement through multi-media, research-based, and participatory practices that focus a lens on the social and industrial impacts of migrant workers, food justice movements, immigration, multiculturalism, and economic disparities. This project builds upon Tucker’s event series, Moving Units: Where Food & Economy Converge. A companion booklet, produced by Rowan University Art Gallery, serves to provide a general overview of US food supply chains. It includes descriptions of the artist contributions to the exhibition that relate to each step on the chain. Throughout this booklet you read about an approach to geographic education that values connecting with the world outside the classroom. The booklet was researched and written by Megan Bucknum Ferrigno, part-time faculty member of Rowan University’s Department of Geography, Planning and Sustainability. Additional contributions made by Dr. Chuck McGlynn, Dr. Jennifer Kitson and Makenzie Franco.

About the Artists and Projects

With Corner Store, Amber Art & Design – a team of Philadelphia-based artists that work on public art within marginalized communities that have little or no access to art – explores the contemporary sociological and psychological intersection between pan-ethnic Black and Asian communities in Philadelphia and how relationships are shaped based on which side of the counter we stand. (image top)

Illinois-based artists Ryan Griffis and Sarah Ross are represented by Between the Bottomlands and the World, a video (combining photographs, narrative writing, and moving images) exploring the rural Midwestern town of Beardstown, IL, a place of global exchange and international mobility, inscribed by post-NAFTA (North American Free Trade Agreement) realities.

Brian Holmes, an art and cultural critic with a Ph.D. in Romance Languages has a long-standing interest in neoliberal globalization and a taste for on-the-ground intervention. His online atlas, Living Rivers, is devoted to the Mississippi and Great Lakes watersheds and shows these fluid ecosystems as they are inhabited by a multitude of creatures and radically altered by human enterprise.

Otabenga Jones & Associates, a Houston-based educational art organization, documents a collaborative art project and public health program addressing the ongoing crisis of obesity and its related risks with “The People’s Plate.” Inspired by the Black Panther Free Breakfast for School Children Program, this art project includes a public mural in Houston and programs to kick off a year-long commitment to health education.

Cynthia Main, a multidisciplinary artist from Missouri focuses on relating to the land as part of an integral view of a more sustainable society. She shares her hand-made buckets and barrels created using traditional techniques to readdress storage as one of the current dilemmas of localizing production.

Chicago’s Claire Pentecost uses photography to show how industrial agriculture is only partly about supplying food and how it is structured to meet the problem of expense and excess capital accumulation when considering the cost of complex machinery, brand name chemical herbicides, pesticides, fungicides, fertilizers, and patented seeds.

How Food Moves: Edible Logistics

Philly Stake is a locally-sourced, recurring dinner that raises funds for creative and relevant community engaged projects that contributes to the well-being of Philadelphia’s neighborhoods through community arts, urban agriculture, social services, and activist work.

Stephanie Rothenberg’s Reversal of Fortune: The Garden of Virtual Kinship is a garden in the form of a global map that explores the question of what it means to be charitable through the click of a button and examines the cultural phenomena of online crowd-funded charity and how the flow of money impacts the project, positively and negatively.

How Food Moves: Edible LogisticsStephanie Rothenberg

Candice Smith runs Freedom Arts, an after school collaborative art program at Camden’s Freedom Prep Middle School, which is creating an installation responding to the idea that Camden is a “food desert” and examining the movement of food at their school and in their community.

Philadelphia-based Kristen Neville Taylor’s installation – a globe depicting routes of oranges and actual oranges outfitted with a QR code that links to music, articles, folk tales, and art – was inspired by a lyric from Leonard Cohen’s “Suzanne” (“and she feeds you tea and oranges that come all the way from China”) which she associated with the market place and the movement of food but also romance and exotic foreign cultures.

Admission to the gallery and reception is free and open to the public. 
Free parking is now available in the parking garage on Mick Drive directly across from the gallery. For visitor information go to our website: www.rowan.edu/artgallery.

Thank you to Mary Salvante, Rowan University Art Gallery for the content of this post.

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DC>3D

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Dave Carrow, DC>3D at Marginal Utility

Dave Carrow, DC>3D at Marginal Utility, Philadelphia

Opening Reception: First Friday, February 3rd from 6:00 – 10:00pm. If you cannot make it to the opening this Friday, you can catch it again on the following First Friday on March 3rd, same times.

Marginal Utility, 319 North 11th Street, 2nd Floor, Philadelphia, PA 19107. Marginal Utility is a non-profit gallery that presents the work of locally and internationally recognized emerging and established artists.

Hours: By Appointment, Saturday + Sunday 12:00 – 5:00pm

Marginal Utility is proud to present DC>3D, a solo exhibition by the New Jersey based artist Dave Carrow.

Dave Carrow has been a friend of MU and its’ predecessors since the beginning, and has exhibited with the curators previously. This is an opportunity to keep that relationship current. Included will be sculpture, hybrids of sculpture/ furniture, related objects, accessories, and photographs.

Artist’s Statement
“I am using a combination of elements; formed/fabricated assemblies which contain kinetic and interactive components, found objects- curiosities and collectibles of various shapes, colors, origins and materials- which are designed and constructed to invite participation, display a sense of humor, and play with the notions of scale and time.” – Dave Carrow

Subscribe to Marginal Utility electronic mail list at: www.marginalutility.org/contact
Follow @mu_inc on Twitter: twitter.com/mu_inc
Facebook: www.facebook.com/marginal.utility

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Out

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Out of the Box, Open Juried Art Show at The Plastic Club

Out of the Box, Open Juried Art Show at The Plastic Club

UNLEASH YOUR INNER CREATIVE BEAST AT THE PLASTIC CLUB

The Plastic Club is inviting artists to break new creative ground for the club’s next juried art exhibition. The February show will feature the theme of ‘Out of the Box‘ – highlighting ‘work related to the notion of invention and inspiration’. The exhibition will run from February 5th to February 23rd, with an opening party on Sunday, February 5 from 2 PM to 5 PM.

The prospectus explains that the subject may be ‘personal, political, scientific, or otherwise’. Submitted work may also be ‘a piece that is itself an experiment, new subject matter, or new medium for you as an artist’.

“Some example ideas,” the prospectus explains, would be “a piece that represents a new direction in your practice or features a material or medium that is new for you; a portrait of an inventor or innovative thinker; a depiction of an inspirational place, event, or historical turning point; subject matter about a break in convention; an illustrative or abstract response to any of these concepts.”

The show’s prospectus is downloadable from The Plastic Club‘s website, www.plasticclub.org.

The show’s juror will be interdisciplinary artist Jacob Rivkin, a teacher at the University of Pennsylvania School of Design and a member of Philadelphia’s OOF Collective, an animation collective.

Jacob Rivkin Bio

“I am an interdisciplinary artist living in Philadelphia, PA. I currently teach Fine Art courses in the University of Pennsylvania School of Design and at the Mason Gross School of the Arts at Rutgers University. I am currently a member of the OOF Collective. I received my MFA from the University of Pennsylvania in 2013 and BA from Vassar College in 2007. My animations and sculptures focus on understanding how, and if, environments and its geological qualities imbue sentiment and distinct character to its inhabitants.

My animation work has screened at the Animation Block Party in Brooklyn, NY, Vox Populi in Philadelphia, PA, and the Peephole Cinema in San Francisco. My sculptures have been exhibited at the Vancouver Art Gallery in Vancouver, BC, The Chemical Heritage Foundation Museum, Philadelphia, PA, the Arlington Art Center in Arlington, VA and Julius Caesar Gallery in Chicago, IL. Awards include the Juror’s Prize at the 25th Annual McNeese Works on Paper Juried Exhibition in 2012, a Fulbright Grant in 2008 to study Chinese traditional landscape painting in Hangzhou, China, and the Weitzel Barber Art Travel Prize in 2006 to study Buddhist sculpture practices in Western China. In 2014 I was an Artist-in-Residence at the Hacktory in Philadelphia. My studio is located at the Queen Memorial Work Studios in Grays Ferry.” – Jacob Rivkin

The Plastic Club, located on quaint Camac Street, the Avenue of the Artists, was founded in 1897 to promote the visual (plastic) arts. Although initially formed as a women’s group, membership was expanded to include men in 1991. The Plastic Club has over 200 members from the Philadelphia area, long-distance members hail from three continents.

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Star

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David Bowie, Queer Star, Jimmi Schrode

Queer Star, David Bowie and Gender Anarchy

by Jimmi Shrode

At the age of 10, I had discovered David Bowie in the pages of 16 Magazine. The wholesome safe pop idols; David Cassidy, The Osmonds and The Jackson 5 were giving way to the Glam Rockers; Lou Reed, Alice Cooper and David Bowie. Bowie was the ring leader with a shocking vermillion rooster cut and tight satin pants. With shocking blue eyeshadow highlighting his mismatched eyes and lipstick, he lead the way for the Sexual Revolution by way of Gender Anarchy and Queerness.

As David Jones, young Bowie couldn’t get arrested with a string of forgettable Anthony Newley meets The Beatles songs that were too twee. Later he would don a maxi dress and sing folkish rock songs, some notice but not quite. The novelty of ‘Space Oddity‘ coincided with America’s Moon Landing brought minor fame, introducing us to Major Tom, an astronaut lost forever in the stars. It was Ziggy Stardust, a rock and roll messiah who came just in time for the end of the world to lead us to Mars, the world of Sexual Chaos. David had announced he was Gay despite being in a marriage with Angie Bowie and son Zowie (now filmmaker Duncan Jones). Bowie was launched into the stratosphere.

David Bowie, Queer Star, Jimmi Schrode

Bowie became godlike and seduced the teens of Britain and America. A clever ruse in an age where news traveled slowly. Bowie arrived on the shores of America with an entourage, claiming great status abroad in Europe. The record executives bought it all. Global success at last. Bowie’s androgyny smashed into the world of suburbia here in the USA and abroad. Queerness was on sale in a record shop near you. Boys dressed in make up and mom’s cast-offs, skinny jeans and experimented with each other leaving lipstick traces. Girls swooned for this Queer Elvis. Adults were dismayed. What was dirty and whispered about in secret was now wrapped up in Japanese Modernist Fashion and Kabuki via the LSD dreams of Timothy Leary, strutting under the spotlights for all the world to see.

Bowie rediscovered Lou Reed, Andy Warhol’s Superstar and leader of the Velvet Underground. The Velvet Underground had inspired Bowie when the Exploding Plastic Inevitable made it to the UK. The psychedelic multimedia show of music, lights and art inspired David Jones. Ever the avid student; he absorbed it and made it his own. His alchemy would extend into the music world and reinvent others as it had himself.

Iggy Pop, the sweaty, muscular singer with a proto-punk band The Stooges, was now clad in tight Lurex pants and had black eyeliner, mascara and lipstick. Bowie took Iggy into the studio and allegedly into his bedroom. Bowie’s aesthetic wiped off onto Lou Reed who now dressed in makeup and leather. Reed had taken a walk onto the Wild Side.

As he retired the glitter and paint in favor of Soul Boy clothes, the label of Queerness became an albatross. While good for breaking through indifference into Rock and Roll, rock was still a boy’s club. Even though some of them adopted Bowie’s fey ways, they were still hetero-normative. Bowie, addicted to cocaine and becoming increasingly paranoid retreated further away from Ziggy Stardust. With slicked back blonde hair, classic 30’s suits and a cigarette, he became the nihilistic Thin White Duke. Then Bowie made the famous Hitler Salute in Victoria Station, casting up shadows of fascism. It was apropos. Fascism had destroyed the Weimar Era Drag for the sturm und drang of masculinity.

David Bowie, Queer Star, Jimmi Schrode

As a chameleon, Bowie further reinvented himself and in the 1980’s had a renaissance into New Wave Music. Still, the shadow of homosexuality clung to him. Disavowing and ignoring it, yet, always present. Some Gay People felt betrayed that their idol who led them out of the closet had returned to the closet. It was a fearsome time when Reagan and Thatcher conservatism and AIDS ravaged Gay Liberation.

David Bowie always endured and was relevant in every decade nonetheless. The 90’s saw collaborations with Trent Reznor and Dr. Dre. In the Aughts; Bowie became the crooner he had been with his smash album Heathen. Then he dropped out of sight after a heart attack only to reemerge in time for his final curtain calls with his albums The Next Day and Blackstar. Blackstar saw the artist use his own impending death to craft his final statement, dying soon after.

David Bowie, Queer Star, Jimmi Schrode

To me and many others; Bowie’s act of Sexual Rebellion had forever changed us, bringing a deeper understanding of gender, sexuality and self-expression. Bowie’s image as Ziggy Stardust remains cemented in our psyche. Often copied and rebranded, a white faced Bowie with a bold red and blue lighting bolt in the center of his face crowned with orange hair is how we remember him most; the Queer Bowie. Our Queer Star.

Written by Jimmi Shrode

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Sound

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Andrea Hornick: Unbounded HistoriesAndrea Hornick in Room 23. © 2016 The Barnes Foundation

SITE-SPECIFIC SOUND INSTALLATION UNLOCKS NEW WAYS OF
EXPERIENCING BARNES COLLECTION

Andrea Hornick: Unbounded Histories marks first sound installation
in the Barnes Collection

Philadelphia, PA, December 2016 – The Barnes Foundation presents Unbounded Histories, a new site-specific project by Philadelphia artist Andrea Hornick and the first “sound intervention” in the Collection Gallery.

From January 6 through February 19, 2017, visitors can listen to several dozen original poems written in response to specific works, including Seurat’s Models and Van Gogh’s The Postman, while they explore the Barnes collection (the recording can be streamed on any web-enabled phone). Filled with mysterious, dream-like imagery, Hornick’s poems spring from what she describes as a shamanistic practice: working directly in the collection, the artist puts herself in a trance-like state letting the art lead her toward the stories and images that the mind normally keeps buried. The resulting juxtaposition of sound and sight aims to encourage visitors to consider works in the Barnes collection in a new way—as portals to the unconscious as well as historical objects. To complement the audio portion, video footage showing Hornick’s creative practice will be screened in the collection’s classrooms. Information about the project, including the URL, and headphones will be available outside the collection gallery for the duration of the project.

Unbounded Histories is made possible with support from the William Penn Foundation.

“We wanted to try something new in the Collection Gallery,” says Dr. Martha Lucy, Barnes deputy director for education & public programs and curator, who is curating this project. “Sound art allows us to put living artists in dialogue with the collection without making any changes to the physical space.”

Hornick sees the piece as “a collaboration with the renegade Dr. Barnes.” Her strange, deeply personal poems reframe traditional narratives of art history. “The piece plays with authority and authorship,” Hornick says. “Through a meditative practice in connection with art history, I upend expected interpretations, inviting creative, personal connections to the collection.” Hornick will do a brief performance at the Barnes on January 6as part of First Friday.

ABOUT THE ARTIST
Andrea Hornick received a BA from Oberlin College, and an MFA from the San Francisco Art Institute. Her painting practice extends into text-based sound, performance, and installation. Her work has been exhibited internationally, and extensively in New York and Los Angeles. Her most recent solo exhibition, Journeys, at Savery Gallery in Philadelphia, took place in March 2016. Hornick is included in several group museum exhibitions in fall 2016 and winter 2017, including Natural Philosophy at Martin Art Gallery, Muhlenberg College, and Due South at The Delaware Contemporary. The catalogue Andrea Hornick. Recent Work: 1460-1865 was published for her exhibition at David Krut Projects, New York, in 2009, and Andrea Hornick: works from 1779–1798 was published in 1999 for an installation and performance of the same name. Hornick currently teaches in the Fine Art Department at the University of Pennsylvania, including a graduate seminar entitled Museum as Site: Critique, Intervention, and Production and undergraduate courses in drawing and painting. Hornick has also taught at Barnard College, Oberlin College, and Auckland University, and been a museum teacher at The Jewish Museum, The Cooper Hewitt National Design Museum, The Morgan Library, and The Museum of Natural History. She was a visiting artist at Oberlin College and the University of California at Davis. Hornick divides her time between New York City and Philadelphia.

ABOUT THE BARNES FOUNDATION
The Barnes Foundation (barnesfoundation.org) was established by Dr. Albert C. Barnes in 1922 to “promote the advancement of education and the appreciation of the fine arts and horticulture.” The Barnes holds one of the finest collections of post-impressionist and early modern paintings, with extensive works by Pierre-Auguste Renoir, Paul Cézanne, Henri Matisse, Pablo Picasso, Henri Rousseau, Amedeo Modigliani, Chaim Soutine, and Giorgio de Chirico; old master paintings; important examples of African sculpture; Native American ceramics, jewelry and textiles; American paintings and decorative arts; and antiquities from the Mediterranean region and Asia. The Barnes Foundation’s Art and Aesthetics programs engage diverse audiences. These programs, held at the Philadelphia campus, online, and in Philadelphia communities, advance the mission through progressive, experimental, and interdisciplinary teaching and learning. 

The Barnes Arboretum, at the Merion campus, contains more than 2,000 varieties of trees and woody plants, many of them rare. Founded in the 1880s by Joseph Lapsley Wilson and expanded under the direction of Mrs. Laura L. Barnes, the collection includes a fern-leaf beech (Fagus sylvatica ‘Laciniata’), a dove tree (Davidia involucrata), a monkey-puzzle tree (Araucaria araucana), and a redwood (Sequoia sempervirens). Other important plant collections include lilacs, peonies, Stewartias and magnolias. The Horticulture school at the Barnes Foundation in Merion has offered a comprehensive three-year certificate course in the botanical sciences, horticulture, garden aesthetics, and design since its establishment in 1940 by Mrs. Barnes.

Thank you to Deirdre Maher, Director of Communications, The Barnes Foundation, for the content of this post. 215.278.7160, press@barnesfoundation.org

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