Category Archives: One-Person Art Show

One person art shows. Philadelphia artists one person art shows.

Garden

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Amie Potsic, Girl in the Garden: Paradise #1, Archival pigment print, 22” x 29”, 2019, ©Amie Potsic 2019

California wildfires and female empowerment fuel immersive exhibition on climate change and gender equality.

Exhibition extended to host

Climate Reality presentation and panel discussion on November 20th 

followed by One Tree Planted planting a tree for every person who attends.

Girl in the Garden: Danger in Paradise

A solo exhibition by Amie Potsic

Presented by: HOT•BED | James Oliver Gallery & Amie Potsic Art Advisory, LLC

Through November 20, 2019

– EVENTS –

CLOSING RECEPTION:
Saturday, November 16, 2:00 PM – 5:00 PM

TO RSVP:  https://www.amiepotsicartadvisory.com/events/2019/11/16/girl-in-the-garden-closing-reception

Amie Potsic, Girl in the Garden: Paradise #3, Archival pigment print, 22” x 33”, 2019, ©Amie Potsic 2019

CLIMATE REALITY PRESENTATION AND PANEL: Wednesday, November 20, 6:00 PM – 7:30 PM

“The Story of Art and Climate: Creating Change Through Art & Action”

Artist Panel Discussion featuring: Amie Potsic, Ana Vizcarra Rankin, Marguerita Hagan & Deirdre Murphy

24 Hours of Reality Presentations by: Al Morales and Alana Morales

Scientific Presentation by:Dr. Erik Cordes, Professor & Vice Chair, Ecology and Integrative Biology, Temple University and Alexis Weinnig, Graduate Student, Department of Biology, Temple University

To RSVP: https://www.eventbrite.com/e/the-story-of-art-and-climate-creating-change-through-art-and-action-tickets-79199348383

Vision (Detail 1)” Mixed Media on Panel, 36” x 72” Ó Amie Potsic 2019

 

Location:HOT•BED, 723 Chestnut St, 2nd Floor, Philadelphia, PA 19106, 267-918-7432

https://www.hotbedphilly.com/current

Gallery Hours:

Wednesday – Friday 5:00 PM – 8:00 PM

Saturdays 1:00 PM – 8:00 PM

Other times by appointment

Admission is free

Inquiries and information:

Amie Potsic, Artist

amie@amiepotsicartadvisory.com  |  www.amiepotsic.com  |  610-731-6312

Chelsea Markowitz, PR

chelsea@projectcmc.com | 856-404-4677

Anais Cooper-Hackman, Gallery

anais@hotbedphilly.com | jamesolivergallery@gmail.com | 267-918-7432

Presented in partnership with:

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Philadelphia, PA – Hot Bed and James Oliver Gallery, located at 723 Chestnut St, Second Floor, Philadelphia, PA presents Girl in the Garden: Danger in Paradise, a solo exhibition featuring renowned photographer and installation artist Amie Potsic.  With a focus on climate change, California wildfires, and gender equality, the exhibition includes a new large-scale silk installation, photographic prints, and mixed media works.  In addition to the exhibition, HOT•BED will host a Climate Reality Presentation and Artist Panel Discussion, after which One Tree Planted will plant a tree for every person that attends.  The exhibition is on view from September 14 through November 20.  There will be a Closing Reception with the artist on Saturday, November 16 from 2:00 – 5:00pm.  The Climate Reality Event will be on Wednesday, November 20 from 6:00 – 7:30 PM.  Both events are free and open to the public and rsvp is encouraged.  Gallery hours are Wednesday through Friday from 5:00 – 8:00 PM and Saturday from 1:00 – 8:00 PM or by appointment.

Amie Potsic, Paradise (installation detail), Archival pigment print on over 250 feet of silk, Dimensions variable, 2019, ©Amie Potsic 2019

Girl in the Garden: Danger in Paradise is a solo exhibition of new work by Amie Potsic addressing climate change through the complex viewpoints of girlhood, deforestation, and Magical Realism.  With site-specific installations, photographs, and mixed media works, Potsic collaborates with HOT•BED, a unique fine art and horticulture gallery, to produce an incarnate exploration of female identity, the forested lifeblood of our planet, and the fate of humankind. 

“In tandem with the incredible upsurge in Climate Change activism and brave examples set by youth leading the charge, this exhibition delves into the complexity and opportunities involved in the issues and provides paths for action,” says Amie Potsic.

After photographing her daughter in the lush forests of the northeastern United States, the artist traveled to Paradise, California and surrounding forests (located upwind from her extended family’s home) to photograph the complete devastation caused by the deadliest wildfire in the state’s history.  Personal experience underscoring the urgency of climate change, Potsic intertwines visions of girlhood in a magical environment with nature’s unprecedented destruction caused by wildfires. 

Unfortunately, the number and severity of wildfires in California continues to grow with recent fires burning out of control as recently as one week ago.  Harnessing the power of imagination and urgency, Potsic’s work is a call to action.  Visitors will find shared resources for taking environmental action in their own lives. 

The exhibition has been extended to host a discussion and presentation on the positive impact of the arts on the Climate Change movement and how creativity and storytelling can create change: “The Story of Art and Climate: Creating Change Through Art & Action.”As part of the 24 Hours of Reality, an international day of Climate presentations offered by Al Gore’s Climate Reality Project, HOT•BED will host an artist panel discussion and climate presentations with scientific experts.  One Tree Planted has committed to planting one tree for every attendee at this presentation.

The artist panel will include Amie Potsic, Ana Vizcarra Rankin, Marguerita Hagan, and Deirdre Murphy.  Each artist’s work looks at climate change from a unique perspective:  Potsic deals with deforestation and wildfires, Rankin addresses human migration and humanity’s impact on the planet, Hagan explores ocean life and interrelated ecosystems, while Murphy integrates scientific experimentation and bird migration. 

Climate Reality Presenters, Al Morales and his 17-year-old daughter Alana Morales, are presenters trained by Al Gore’s Climate Reality Project.  They will provide facts and opportunities highlighting the impact of climate change on the planet and humanity.

Dr. Erik Cordes, Professor & Vice Chair of Ecology and Integrative Biology at Temple University and Alexis Weinnig, a graduate student in the Department of Biology at Temple University will share information on their research, which focuses on understanding the areas of the deep sea that support the highest biomass communities: deep-water coral reefs, natural hydrocarbon seeps, and hydrothermal vents. 

On November 20–21, the world is coming together to talk about the climate crisis with:

24 Hours of Reality: Truth in Action: https://www.24hoursofreality.org/

One Tree Planted has committed to planting one tree for everyone that attends one of the international presentations:  https://onetreeplanted.org/

Amie Potsic, MFA is an accomplished photographer and installation artist living in the Philadelphia area whose work addresses cultural, personal, and natural phenomena through the lens of climate change and social responsibility.  Potsic has exhibited her work internationally at the Art Park in Rhodes, Greece; Museo de Arte Moderno de Bogotá, Colombia; Medfoundart di Cagliari, Italy; the Royal College of London; the Museum of New Art in Detroit; The Woodmere Art Museum, The National Constitution Center Museum, The Painted Bride and James Oliver Gallery in Philadelphia; Mission 17 in San Francisco; and 626 Gallery in Los Angeles.  Her work has been published in The San Francisco Chronicle, Art Matters, The Photo Review, and The Philadelphia Inquirer.  Potsic received her MFA in Photography from the San Francisco Art Institute and BA’s in Photojournalism and English Literature from Indiana University.  She has held faculty appointments at the University of California at Berkeley, Ohlone College, and the San Francisco Art Institute and has been a guest lecturer at The University of the Arts, Ursinus College, and The International Center of Photography. 

Potsic is currently the CEO and Principal of Amie Potsic Art Advisory, LLC providing visionary and advisory support to artists, collectors, businesses, and institutions with expertise in Legacy Planning and Fine Art Appraisals.  She is also Chair of the Art in City Hall Artistic Advisory Board to the Office of Arts and Culture of the City of Philadelphia.

Bridging James Oliver’s (James Oliver Gallery) eye for contemporary art and Bryan Hoffman’s (Hoffman Design Group) passion for horticulture design, HOT•BED is an ultra-collaborative gallery and event space that explores the relationship between our intrinsic connection to nature (biophilia) and art in new and exciting ways. 

HOT•BED andJames Oliver Gallery, located at 723 Chestnut St, Second Floor, Philadelphia, PA present Girl in the Garden:  Danger in Paradise, a solo exhibition featuring renowned photographer and installation artist Amie Potsic with a focus on climate change and gender identity.  The exhibition runs from September 14 through November 20.  The exhibition will host a Closing Reception on Saturday, November 16 from 2:00 – 5:00 PM and a Climate Reality Event on Wednesday, November 20 from 6:00 – 7:30 PM.

For more information, please contact Amie Potsic at amie@amiepotsicartadvisory.com or 610-731-6312 or Chelsea Markowitz at chelsea@projectcmc.com or 856-404-4677.

Thank you to Amie Potsic for the content of this post.

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Obsolescence

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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.

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Homelessness

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Homelessness, Carolyn Harper. MUSE Gallery
Lemuel, art quilt, 5.5′ x 5′, Carolyn Harper, MUSE Gallery

Look Me In The Eye: Portraits of Homelessness

Carolyn Harper, MUSE Gallery

I am a Philadelphian and an artist with an upcoming exhibition in Old City Philadelphia at MUSE Gallery, “Look Me In The Eye: Portraits of Homelessness” is a show of large art quilts and oversized hand embroidered drawings that use personal stories of homeless individuals, Philadelphians, to inspire empowerment and  create visibility of those who have been left behind by our society.

My work combines art and action to produce meaningful social impact. The implementation of portraiture within quilting serves to empower the persons depicted, enabling them to see themselves through their own stories rather than qualifiers such as “jobless” or “homeless”. Through conversations and active listening, I learn about the individual stories of these overlooked and ignored community members. The large scale work forces the audience to confront images of people they would rather not see, and bear witness to the stories behind them. 

Carolyn Harper

This work is extremely relevant to the times we live in, and I am grateful to The Puffin Foundation for providing me with a grant in support of my work. The Artist Reception will take place at MUSE Gallery, 52 N. 2nd Street, Old City Philadelphia, on Friday, November 1st from 5 – 8 pm. The exhibition runs through the end of November; Gallery hours are Wednesday – Sunday from 12-5.

For more information and images please visit about Carolyn Harper: www.carolynharperart.com

About Muse Gallery:

Mission: Established late in 1977, the Muse Gallery is an artists’ cooperative dedicated to encourage and promote its members’ artistic expression through abstract, conceptual and representational forms. Reflecting an aesthetic that awakens awareness, the Muse Gallery affirms the shared experience of art between the artist and the community.  Please see the membership page to view a detailed history of Muse.
To join the Gallery: Muse Gallery is always interested in potential new members. We are often fully staffed and maintain a waiting list. Please visit our membership page.

Thank you to Carolyn Harper for the content of this post.

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Participatory

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KAMEELAH JANAN RASHEED’S PARTICIPATORY ART PROJECT
Kameelah Janan Rasheed, Borges, Musa, and Khidir, 2019, Archival Inkjet Print, courtesy the artist.

Kameelah Janan Rasheed, Participatory Art Project on Learning, Unlearning, and Play, Haverford College

Last spring, Kameelah Janan Rasheed, as part of her Katowitz Radin residency at the Brooklyn Public Library, orchestrated a sprawling 120-foot site-specific text mural and interactive public art experience at its central branch on Grand Army Plaza. The project, known as Scoring the Stacks, invited visitors to explore wandering as a mode of learning by performing a set of instructions contained in a series of “scores” that, rather than depicting musical notes to follow, featured directions for language-based actions that could be taken throughout the space. For example, participants were invited to “Find a blue book. Read the last page and write down a word you’d like to use in a future conversation” and record their findings on carbon paper.  Using the carbon copies of participant’s notations, a series of public programming in collaboration with artists Morgan Bassichis, An Duplan, and Brass Burlesque, led participants in the transformation of these notations into poems, songs, and dance movements.

Now Rasheed is undertaking her second experiment in this ongoing series at Haverford College’s newly renovated and renamed Lutnick Library. Scoring the Stacks (Experiment II) will turn Haverford College’s Cantor Fitzgerald Gallery into a satellite of Lutnick Library, offering visitors space for their own research, reflection, experimentation, and collaboration inspired by an installation of Rasheed’s recent work. Viewers will be invited to use a new set of scores to explore chance-based pathways through the library, gallery, arboretum, and other institutional spaces and collections as a way to encounter new ideas and build relationships between seemingly unconnected concepts.

Scoring the Stacks (Experiment II) likeits first iteration, gains its momentum from the concept of “primitive hypertext”—a term coined by Black science-fiction writer Octavia Butler, who has described it as a learning ethos attentive to the possibilities of a meandering, non-linear, associative, and agile process of making sense of the world. To engage in an act of “primitive hypertext” is to seek out opportunities to map generative relationships between wide-ranging ideas, words, objects, and experiences.

Rasheed, a former high school history teacher, is interested in how people learn and the role of wandering, de-accelerating, and nurturing tangential connections in building a radical ethos of learning that prioritizes process over product. As such, her scores “encourage visitors to wander, to slow down, and to learn by discovery,” as she told Artforum. Prints of her recent work will be on display in the gallery, but the exhibit is experienced in the “performances” of its 10 scores in the library and across campus. The finished, notated scores will be collected and reassembled in a book created by Rasheed and released towards the end of the exhibit’s eight-week engagement on campus.

Kameelah Janan Rasheed is a Brooklyn-based artist and learner from East Palo Alto. Her sprawling inquiry has led her to develop work that explores experimental poetry, reference texts, intimate intertextuality, techniques of non-institutional archiving, anecdotes of religious syncretism, histories of human as well as non-human communication methods, enclosure systems, and ecological studies. Rasheed makes her inquiries visible through an ecosystem of iterative and provisional projects including sprawling, Xerox-based “architecturally-scaled collages” (frieze magazine, winter 2018); interactive publications; large-scale text banner installations; digital archives; lecture-performances; library interventions; poems/poetic gestures; and other forms yet to be determined. Rasheed has exhibited at the 2017 Venice Biennale, ICA Philadelphia, Pinchuk Art Center, Brooklyn Museum, Queens Museum, New Museum, Studio Museum in Harlem, Bronx Museum, Brooklyn Public Library, Schomburg Center for Research in Black Culture, and The Kitchen, among others. She is the author of two artist books, An Alphabetical Accumulation of Approximate Observations (Endless Editions, 2019) and No New Theories (Printed Matter, forthcoming 2019).

Scoring the Stacks (Experiment II) will be on view Oct. 25 through Dec. 15 at Haverford College’s Cantor Fitzgerald Gallery and Lutnick Library. Join us for an artist’s talk and opening reception Friday, Oct. 25, from 4:30–7:30 p.m. at Cantor Fitzgerald Gallery. A book release and discussion will be held Wednesday, Dec. 4, at 4:30 p.m. in Lutnick Library 200. For further details: exhibits.haverford.edu/scoringthestacks.

Scoring the Stacks was conceived by Kameelah Janan Rasheed in its first iteration at the Brooklyn Public Library, curated by Cora Fisher. This is the second experiment in the artist’s ongoing series. Support for the exhibition and programs is provided by the John B. Hurford ’60 Center for the Arts and Humanities and Haverford College Libraries.

Overseen by the John B. Hurford ’60 Center for the Arts and Humanities and located in Whitehead Campus Center, the Cantor Fitzgerald Gallery is open Monday through Friday 11 a.m. to 5 p.m., Saturdays and Sundays 12 p.m. to 5 p.m., and Wednesdays until 8 p.m. For more information, contact Matthew Seamus Callinan, associate director of the Cantor Fitzgerald Gallery, VCAM, and campus exhibitions, at (610) 896-1287 or mcallina@haverford.edu, or visit the exhibitions program website: www.haverford.edu/exhibits.

Haverford College is located at 370 Lancaster Avenue, Haverford, Pa., 19041.

Thank you to Rebecca Raber for the content of this post.

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7 MILE

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Jamea Richmond-Edwards Explores Detroit’s Fashion and Style in 7 Mile Girls

JAMEA RICHMOND-EDWARDS EXPLORES DETROIT’S FASHION AND STYLE IN 7 MILE GIRLS

Artist Talk & Opening Reception at Rowan University Art Gallery: Thursday, November 7, 5:00 PM – 7:00 PM

GLASSBORO, NJ – Rowan University Art Gallery presents 7 Mile Girls, an exhibition exploring the connection between Black female style of Detroit’s inner city, with designer fashion and self-empowerment. Featuring several new works by artist Jamea Richmond-Edwards alongside paintings loaned by the Rubell Family Collection, the exhibition will run November 7 – December 21, 2019, with an opening reception on Thursday, November 7 from 5:00 PM – 7:00 PM. 

Richmond-Edwards grew up observing the Black community’s fashion style in Detroit’s inner-city during the late 1980s and early ’90s. Popular and idolized were Coogi sweaters, red gators, and designer bags from Gucci and Louis Vuitton. She understood the correlation of the fashion industry around the Black female experience and their complex relationship with luxury clothing.  

Jamea Richmond-Edwards Explores Detroit's Fashion and Style in 7 Mile Girls
Jamea Richmond-Edwards 2018, Shirt with Lace Heart, 72 x 128″, Image Courtesy Kravets Wehby Gallery

The artifice of dressing became the driving narrative of her work and her form of Black aesthetic and expression. She was particularly interested in how her work confronted social disparities and the inequitable practices and tone-deaf decisions continually made by the fashion house of H&M, Adidas, Gucci, and Prada. In opposition to the market focus of these brands her imagery is inspired by the styles of Black designers who have made a positive impact on the fashion perspective, particularly Dapper Dan for Gucci, and the work of Duro Olowu, alongside influences of artists coming out of AfriCOBRA and the Black Arts Movement.

The title 7 Mile Girlsrefers to the street in Detroit where Richmond-Edwards grew up and where she encountered many of the female subjects in her paintings. Inspired by women in her life, the central female figures in her paintings confront the viewer with an air of confidence and agency as guardians of Black culture.  Across her multi-layered collages, the artist conveys the complex intersection of Black style, capitalism, fashion, and personal identity through the lens of these resilient Black women.

Jamea Richmond-Edwards 2019, Two Sisters and the Horned Serpent, 8 x 6 feet, Image Courtesy of Kravets Wehby Gallery

ABOUT THE ARTIST  
Jamea Richmond-Edwards graduated with a Bachelor of Arts degree from Jackson State University in 2004 where she studied painting and drawing. She went on to earn an MFA from Howard University in 2012. She offers a repertoire of portraits of women drawn using ink, graphite and mixed media collage. Richmond-Edward’s work has garnered the attention of various art critics including in the Washington Post and the Huffington Post’s “Black Artists: 30 Contemporary Art Makers Under 40 You Should Know”. Richmond-Edwards has exhibited her artwork nationally and internationally including the Delaware Art Museum, California African American Museum, Charles Wright Museum in Detroit, MI, and Galerie Myrtis in Baltimore, Maryland. Her works are in the permanent collection of private collectors across the country including the Embassy of the United States in Dakar, Senegal. She currently resides in Maryland with her Husband and three sons. 


ABOUT ROWAN UNIVERSITY ART GALLERY 
Rowan University Art Gallery serves as a premier cultural destination for South Jersey, the Rowan community, and surrounding region. Our mission is to provide a platform for discourse on best practices in contemporary art by professional artists, curators, and scholars through the presentation of interdisciplinary art exhibitions, panel discussions, guest curatorial projects, and other public programming. 

The Gallery has a history of programming that recognizes the achievements of women in the visual arts with group and one person exhibitions that included: Beverly Semmes (2011), Joyce Kozloff (2014), Jeanie Jaffe (2015), Diane Burko (2018), Heather Ujiie (2018), Ebony G. Patterson (2019), and Julie Heffernan (2019). Its permanent collection includes the groundbreaking and historic installation The Sister Chapel.

This exhibition is presented with the generous support of the Joseph Robert Foundation. Support for programming at Rowan University Art Galleries is also made possible by funds from the New Jersey State Council on the Arts, a partner agency of the National Endowment for the Arts. For more information please visit: rowan.edu/artgallery.

GALLERY LOCATION

301 High St W, Glassboro, NJ 08028, 856-256-4521

Visit us online at rowan.edu/artgallery and follow us on Facebook @RowanGallery.  #RowanGallery #7MileGirls

GALLERY HOURS

Monday – Friday, 10 am – 5 pm 

Saturday, 12 pm – 5 pm

Public parking is available in the Mick Drive Parking Garage across the street from the gallery. Admission to the gallery, lecture, and reception is free and open to the public.

Thank you to Chelsea Markowitz for the content of this post.

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