Category Archives: Philadelphia Art Clubs

Art clubs are members only groups with a mission to promote the development of artists; DoN is a member of several Philadelphia area art clubs.

Marathon

Drawing Marathon. The Plastic Club

Drawing Marathon, April 23rd, The Plastic Club

Life drawing, portrait drawing and painting, short poses/croquis, still life set-ups, noir lighting, Sunday April 23rd, 10:00am – 10:00pm. $15.00 cash for come and go all day. All proceeds benefit Sunshine Arts, an artist-in-residence outreach program  encouraging neighborhood kids to learn the wonderful worlds of dance. music, literature, and art.

The Plastic Club, 245 S. Camac Street,The Avenue of the Artists, Philadelphia, PA, 19107
215-545-9324

“Since 1897, The Plastic Club has been devoted to the promotion and preservation of the visual (plastic) arts in Philadelphia. The busy gallery schedule offers several annual exhibitions for members and non-members, as well as invited artists in solo and group exhibitions. Members include well-known Philadelphia artists.

The name ” Plastic Club,” suggested by Blanche Dillaye, referred to any work of art unfinished, or in a “plastic” state. The term also refers to the changing and tactile sense of painting and sculpture.

Among the founding members of The Plastic Club were the “Red Rose Girls” — Violet Oakley, Jessie Willcox Smith, and Elizabeth Shippen Green — outstanding artists of their time. The name was given to this group of talented women by their teacher Howard Pyle.”

Sunshine Arts41 Sunshine Road, Upper Darby PA, 19082, 610.352.7968

Ms. Sheila Modglin started Sunshine Arts at 41 Sunshine Road in the summer of 2004. She invited children from the neighborhood to listen to stories as they sat around the fish pond in the front yard. The kids enjoyed helping to water the plants and feed the fish.

Since then the organization has grown significantly. Now, resident artists Mr. Patrick O’Banion, Ms. Kat Lehmer, and Mr. Fen Jeeters teach classes to children of all ages from the community. Classes are scheduled after school during the week and on Saturdays. Regardless of the listed class schedule, children come to Sunshine Arts daily to talk, do crafts or get help with homework. Often, they enjoy Mr. Patrick’s fresh baked bread, homemade soup, cookies, or other wholesome snacks when they visit.

The goal of Sunshine Arts is to enhance the education and personal growth of our future generations. Executive director, Sheila Modglin grew up with a very strong sense of community within her family; “We would do any thing for each other. I want to share the sense of community that I have in my life with all the beautiful people right here surrounding this home. The house itself is a manifestation of living art and was accomplished through hard work from my generous and creative family and friends.”

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GoBabyGo!

gobabygo! murals at UDBuddy’s Reef, acrylic on canvas, 6′ x 6′, Tracey Landmann

The Evolution of Art as a Powerful Resource: The GoBabyGo! University of Delaware Murals

by Tracey Landmann

I am at The Philadelphia Sketch Club tonight to discuss the three-dimensional environments, or “movable murals” I painted for the GoBabyGo! Program, the headquarters of which are the Pediatric Mobility Lab on the University of Delaware’s STAR Campus. These three paintings, however, are only prototypes for their future potential, which is what I am going to write about.  The idea I present is not a new one, exactly, but it is one whose fulfillment is growing increasingly more important as our culture both escalates and deteriorates, wreaking data overload havoc. I believe artists can teach the vulnerable among us to control their reactions to that cacophony.  I only realized the extent of the power art (and its creators) has in the social service sector while I was working on these murals.  I will explain.

GoBabyGo is a program that provides independent physical, and therefore social and developmental, mobility for people whose movement is limited by physical disability. There are two sides to GoBabyGo!, the pediatric part, in which toddlers receive their own battery-powered cars specially adapted to work with their abilities (while combating their disabilities) in their own homes and nearby surroundings, and there is also an portion whereby a harness system, which enables people (adults and children) to traverse pathways in buildings by means of poles bolted into ceiling from which a “harness” (supportive vest) on a pulley hangs. This is also useful in a limited physical setting. My idea was to not only put a colorful patch over the ugly, boring gray of a pediatric rehabilitation setting, but also to enlarge cognitive range with an ‘assistive technology’ that will never lose battery power or enable mobility only with a suspended framework.

What I have done so far has been has been for GBG’s pediatric side: I decided to use the unlimited mobility of imagination to enhance the restricted kind provided by the adapted cars. Theoretically, the paintings would stimulate the previously stationary children, now able to maneuver independent of an adult transporter, to go toward the murals; motivate them to reach out for the new environments (they are intended to hang at tiny person eye level), and wonder what might lie in and beyond them. They could make up stories, play pretend – in other words, imagine any number of things about the amazing new places they would see, and be able to reach. All of the animals in the murals are named and described as to species, but their stories are up to the children.  The kids are not fed pre-fab fiction from a cartoon or toy conglomerate.  My dream for the murals is that their use would both set the program apart from those of its type, giving it an extra “edge” to entice potential funders, and inspire GBG founder/director Dr. Cole Galloway to better address the cognitive development needs of the children he serves. My bigger dreams are that the dozens of chapters of GoBabyGo! world wide, the University of Delaware’s physical therapy team, and especially, the caregivers of mobility-impaired children, will see the value of my ideas and duplicate my actions. I suppose you could say I’m planting an already cultivated field to ripen my own vision, but at least the ensuing harvest is for others. Unfortunately, as far as I know, my seeds have not yet been able to sprout very well.

gobabygo! murals at UDWelcome to the Jungle, acrylic on canvas, 6′ x 6′, Tracey Landmann

Growth will be far more likely when the murals are displayed in a more visible location, exhibited in GBG workshops, shown in the program’s promotional materials, and especially, are used as  the base for  lot more sensory stimulation in GBG’s new lab-to-be. This seems like a very complex plant, I know, but it didn’t begin that way.

At first, I wanted to do this because Cole Galloway had been incredibly supportive of the art program I designed for the Brain Injury Association of Delaware.  I couldn’t do much to show my appreciation, but Cole likes my work, so I decided I would produce some of it (but more kid-friendly) for his Pediatric Mobility Lab. It took me several months to figure out the most effective way to do that; it began when he asked me simply to come in and paint stuff – do whatever I want – but told me they, of course, had no money to make it happen.  I don’t think he realized that painting with skill takes a lot of time and costly materials, and considering my commitment level to both art and to cognitive rehabilitation, I’m not one to slap on paint just for fun in a therapy environment. It needs to be beneficial, and benefit requires a lot of thought. When I finally figured out how I could best add to the program’s impact, I was sure I could convince the Delaware Division of the Arts to fund the project (and I did – in part), which would not only pay for materials for me, but introduce Cole to a new grant source for future GBG creative endeavors.  And so: the mural project started off pretty simply, but soon meant a lot more to me.

The deeper motivations behind the project idea – why I would go to such extremes for GoBabyGo! – came into sharper focus as I designed and painted.  I had a lot of time to think while working.  I realized I wanted to paint the murals because I am very conscious of the disadvantages individuals with disabilities have, and how its members are far more limited if they can’t overcompensate for those deficits and social barrier than if they have the figurative tools to do so.  Even more than the average person, most people with physical and/or mental impairments must be adaptable to the potential scenarios and circumstances that may present themselves in the future. Come to think of it, everyone facing an excess of difficulties in any sense is better off if he or she can consider many options.

A person who is flexible is one who is able to view situations from many different perspectives, as well as capable of applying learned knowledge.  That person needs to organize and prioritize life’s tasks, and be in control of his or her own existence. Flexibility of perception and imagination is vital. Although I can’t magically imbue anyone with wisdom, I am  certain creating three dimensional environments will not only stimulate children to explore physical mobility potential by providing hints of what is ’out there,’ but could conceivably enable anyone to consider the possibilities of ‘out there’ in a broader sense.

My project goals really evolved. In doing the murals for GoBabyGo!,  I set out to address what I felt to be Cole’s needs for his program – making the murals light and portable, creating a background to motivate toddlers to move –  but for the toddlers, whose future life requirements are not the main priority for a physical therapy program created  to lower a few fences for a few years, it turned out I wanted my work to reach much farther.

Right now, we who have the gift of creativity might want to think about examining the goals we have for our artistic power, and reach farther, too. The externally provided routes to resources needed to successfully guide life, always elusive (at best), are growing extremely scarce as those whom society marginalizes are shoved aside, and as their demands to raise their Quality of Life expectations grow more insistent.

Today’s service environment for members of vulnerable populations is bad and getting worse as the fundamentals of democracy. Education and social programs are shriveling, and many are becoming less concerned for their neighbors because their attention is forcibly redirected toward potential danger to their own survival. Now more than ever before, we must work together to strengthen our weakest communities, in order to keep the voting majority able to make the decisions to both maintain social stability and allow for progress.  At present, that so-called majority is being manipulated into attacking itself. The divisions between those with literal and figurative wealth and those who are resource-poor is growing, and the resource-rich – inevitably the ones in positions of power – often spur that growth by steering those of us in the middle in disorienting circles.  We need to fortify ourselves by being aware, and enlightening those in the dark.

gobabygo! murals at UDVincent on Safari, acrylic on canvas, 6′ x 8′, Tracey Landmann

As artists, we despair: we mount protest shows, we join in marches,  we use our art to tell the world of our feelings about) the current state of events BUT WHAT CAN WE DO BESIDES VOICE OUR OWN DISCONTENT?  How can we control any of it? What special quality do we have that can help keep the canyon dividing the Withs from the Withouts from widening?

We can share our self-preservation, our therapy, our own secure base –ART – with the people who see their roads to the future as dead ends. It isn’t an easy fix, but we can help.  Our most significant strength is for the youth; it is much simpler to establish a broad boulevard in an open space than it is to widen a narrow road in an overpopulated city.  We can literally expand environments and alter thought patterns for the juvenile members of disadvantaged groups before mental pathways become set. The self-awareness, ability to balance composition and prioritize focus that our own creativity brings to us can be shared with others in the form of – not just art instruction, but – sensory environments.  We can create worlds in empty spaces – worlds that provoke thought, imagination, and a million different possibilities.  We can bring brightness, light, refreshing sounds, pleasing textures, delicious tastes and aroma, or at least the suggestions of all those, via visual stimulation to people who’ve given up on looking for pathways, or at least never were allowed the malleability of mind required to seek them. Our biggest potential contribution to society is our power to encourage mental agility.

If more of our disenfranchised groups, and especially, more children (who have largely been deprived of creative pursuits, and consequently, ability to foster analytic skill), are encouraged to think outside the boxes those who wish to retain control have created for them, perhaps the artists will be the ones who can kick-start the “Make America Great Again” process.  I don’t see anyone else doing it right now.

Thank you to Tracey Landmann for the content of this post.

Tracey.Landmann.TL@gmail.com

(302) 383-0698

For more information on GoBabyGo!http://sites.udel.edu/gobabygo/

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Oils

PSC 154th Small Oil ShowTom Kohlmann, Portrait of Morales, 1st Place 153rd Annual Small Oils Show

Philadelphia Sketch Club 154th Annual Small Oils Show

Call for Entry: This is an open, juried competition for paintings where the principal medium is oil paint, acrylic, casein, tempera or other mediums used to represent oil painting. This is not a works on paper or water medium exhibition, although oil on paper is acceptable. Maximum size for any one dimension is 20″ (excluding frame). Paintings must be framed unless framing is not intended for the work. All items must be wired for hanging (no hooks, brackets or holes). Work must be original and not previously shown at the PSC. All paintings must be for sale.

Entry is by on-line submission at: www.sketchclub.org/exhibitions

Submissions: You can submit up to 10 works. Maximum Accepted Works Per Artist is 2.

Entry Fee: PSC Members: $1 entry for first piece, $10 each additional work. Non-Members: $20 for first piece, $10 for each additional work.

Online Entry Assistance: Saturday, March 18, 1:00 – 5:00pm at The Philadelphia Sketch Club. Bring your work and we will put it online.

Deadline for on-line submissions: Sunday, March 19, Midnight.

Enter Online at: http://sketchclub.org/psc-official-online-submission-site/

View the prospectus: SoS prospectus 2017

Show Co-Chair: Bill Patterson
Show Co-Chair: Joe Winter

On View Now: The School District of Philadelphia, Office of Arts and Academic Enrichment and the Philadelphia Sketch Club presents

The 33rd Annual Philadelphia High School Art Show

Reception and Awards: Sunday, February 26th, 2:00 – 3:30.

Exhibition Chair: Dorothy Roschen

PSC 33rd Annual High School Art Show

With over 150 years of artistic heritage, The Philadelphia Sketch Club has a mission to provide a community for visual artists, appreciation of the visual arts and visual arts education. America’s oldest club for artists. Since 1860 the PSC has served as a meeting place, forum for ideas, and a vital bridge between the creators and supporters of art. Past luminaries have included such American masters as Eakins and Anshutz. Present luminaries could include you.

The Philadelphia Sketch Club, 235 South Camac Street, The Avenue of the Artists, Philadelphia, PA, 19107

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Worlds

Small Worlds Explored at The Plastic Club

Small Worlds Explored at The Plastic Club

The Plastic Club will hold its annual open entry show dedicated to small art works in March. The show, entitled “Small Worlds,” accepts original artwork in all media, including sculpture and small-screen video, as long as the entry is 13 x 13 inches or smaller, including frame.  Entries in past shows have been as tiny as one inch square.

Entry is open to the public. Prizes will be awarded, ranging from a $125 first prize down to $25 Honorable Mentions. Awards will be presented at the Opening Reception, March 5, at 3:30 PM. The prize juror will be Philadelphia artist Miriam Singer.

Admission is free. The works are on display in The Plastic Club and can be viewed during the Opening and by appointment. The show runs from March 5 to March 24.

Click here for Prospectus

After the Small World show ends, The Plastic Club‘s next show, scheduled for April, will have the theme of “Daily Life and Community.” The announcements for each show can be found on the Plastic Club website at www.plasticclub.org.

The Plastic Club, located on quaint, historic Camac Street, was founded in 1897 to promote the visual “plastic” arts through workshops,  exhibitions, and community programs.

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Out

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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