Category Archives: Philadelphia Art Schools

Philadelphia art schools.

19th

Don Camera, UArtsLouis Rodger du Val (1827-1888), Baby Goat, 1855, salt print from paper negative

19th Century Photographs for Painters from the collection of Don Camera

19th-Century Nature Studies — from the Collection of Don Camera BFA ‘77
Portraits of Photographers — from the Collection of Don Camera BFA ‘77

University of the Arts, President’s Gallery and Conference Room, through April 3rd, 2018, Hamilton Hall, 320 South Broad St., 1st and Ground Floors (Directions)

Video by John Thornton Films

“My friend the photographer and collector Don Camera has an exhibit at the University of the Arts. We get to see a set of 19th century photographs made expressly for painters to use as reference material. The makers were businessmen hustling to make a living. But Don makes the case for them being “the first generation of serious art photographers.” – John Thornton

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Vast

Diane Burko, Rowan University Art GalleryColumbia Glacier Lines of Recession 1980-2005

Vast and Vanishing

ART, ACTIVISM, AND THE ARCTIC

Diane Burko uses art to examine monumental geological phenomena

GLASSBORO, NJ – Exploring the confluence of arts, science, and activism Rowan University Art Gallery showcases the work of environmental artist Diane Burko in Vast and Vanishing. On display from March 8 – April 21.

Diane Burko’s artistic practice is at the intersection of art, science, and activism focused on climate change. For over a decade, she has been documenting glacial recession in large-scale paintings and photographs developed in collaboration with scientists, studying their research, and utilizing their data. She is especially committed to understanding and incorporating climate science and sees this intersection as crucial to her artistic development. Her activism led her to make research expeditions to the ice fields of Antarctica, Greenland, Patagonia, and Svalbard where she documented and collected data for her work.

By employing many of the methods used by climate scientists such as recession lines, satellite imaging, and repeat photography, Burko’s research, coupled with her experiences, are translated into monumental paintings and photographs. The results are emotionally expansive works that function as a visual record of glacial recession, a call to action, and metaphor for the socio-political discourse on climate change. Curated by Mary SalvanteVast and Vanishing comprises works that capture the inexhaustible dichotomies and the inescapable tension that Diane witnessed in these extreme frozen environments.

Diane Burko, Rowan University Art GalleryOrtophoto Kongsfjorden 1869 _1990 (after NPI)

Brooklyn-born. Philadelphia-based Burko focuses her work on monumental geological phenomenon. Since 2006 her practice has been at the intersection of art and science, devoted to the urgent issues of climate change. Her current work reflects expeditions to the three largest ice fields in the world. She has sailed around Svalbard with artists and also spent four days in Ny-Alesund with scientists from the Norwegian Polar Institute. She has visited Greenland’s Ilulissat and Eqi Sermia glaciers and first traveled to the Antarctic Peninsula in 2013, returning in January 2015, and explored the Patagonian ice field of Argentina. Burko’s expeditions can be followed at www.dianeburko.com/polarinvestigations.

Aside from showing her art, Burko has gained attention from the scientific community, often speaking on how the arts can communicate science. She is an affiliate of INSTAAR, and has participated in numerous conferences such as those hosted by the Geological Society of America and American Geophysical Union. She is committed to public engagement, using both facts and images to make the invisible visual and visceral.

Diane Burko, Rowan University Art GalleryPetermann Calving

Rowan University Art Gallery is located at 301 High Street West. Free 2-hour public parking is available in the Mick Drive Parking Garage across the street from the gallery. Eynon Ballroom is located in Chamberlain Student Center on the university campus. Admission to the gallery, discussion, and receptions is free and open to the public. Regular gallery hours are Monday – Wednesday, 10:00 a.m. to 5:00 p.m. and Thursday – Saturday, 10:00 a.m. to 7:00 p.m. Directions can be found on the gallery website. For more information, call 856-256-4521 or visit www.rowan.edu/artgallery.

Support for programming at Rowan University Art Galleries is made possible by funds from the New Jersey State Council on the Arts, a partner agency of the National Endowment for the Arts.

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

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Unwilling

Unwilling: Exercises in Melancholy

EXPLORE MELANCHOLIA AT HAVERFORD’S CANTOR FITZGERALD GALLERY

HAVERFORD, Pa.- What if we saw sadness not as a giving up or giving in, but a getting out? What if, instead of being seen as a passive pain, feeling deep sorrow was understood to be an act of resistance? What if, given the current political and cultural moment in which so many feel ignored, maligned, or repudiated by the systems and people in power, mourning was not just an understandable reception, but a useful action against those systems? A new exhibit in Haverford College’s Cantor Fitzgerald Gallery, opening March 23, showcases the work of five artists from across different media to grapple with such questions of power, agency, and melancholy.

Unwilling: Exercises in Melancholy, curated by Vanessa Kwan and Kimberly Phillips, proposes a re-consideration of melancholia as defined through our contemporary condition. Resisting its historical definition as an affliction that creates disorder or inactivity, this exhibition reimagines passive sadness as a powerful refusal, a conscious (or unconscious) “standing aside,” a willful production of generative failures and resistant potencies. Each of the five contributing artists begins with the idea that outside the boundaries of “contentment” resides a potent flourishing. Unwilling is a resistance and a proposition: it responds to the profound cultural reckoning we are witnessing in this moment in time, as the boundaries and exclusions of state-defined citizenship become increasingly fraught.

The exhibition crosses disciplinary boundaries. Dance artist Justine A. Chambers explores choreographies of resistance, growing out of a studious and embodied interpretation of all the minor gestures on the way to hands raised in surrender. Sculpture- and performance-based artist Mike Bourscheid mines absurdities in relation to our cultural preoccupations with masculinist productivity, while social practice artist Ginger Brooks Takahashi works to create new networks of value in the production of food, drink, and community. (Her piece in the exhibit is a collaboratively created-and consumed-beer.) The “weeping” willow is at the center of media artist Noa Giniger‘s multi-faceted take on reversals of sadness and the refusal to succeed, and poet and critic Billy-Ray Belcourt positions mourning as a defining aspect of an active and resistant subject and proposes that the future must address this subject head on.

Unwilling: Exercises in Melancholy will be on view March 23 through April 27 at Haverford College’s Cantor Fitzgerald Gallery. To celebrate the exhibit’s opening, there will be several events during its first week. On March 22, ahead of the official opening, a roundtable with four of the featured artists and the two curators will be held from 4:30 to -6:30 p.m. in the College’s new Visual Culture, Arts, and Media (VCAM) building, room 201. On March 23, Justine A. Chambers will perform an all-day, campus-wide, site-specific commission, ten thousand times and one hundred more. And later that day, at 4:30 p.m., there will be a talk with the curators followed by a reception at 5:30 p.m., featuring Ginger Brooks Takahashi’s Wyrt Blod Gruyt, a custom-made beer commissioned specifically for the exhibit and brewed in collaboration with Meredith Rebar Williams and Home Brewed Events. For further event details: exhibits.haverford.edu/unwilling.

Unwilling: Exercises in Melancholy is made possible with support from the John B. Hurford ’60 Center for the Arts and Humanities. The exhibition is organized in conjunction with the Hurford Center’s 2017-18 faculty seminar “The Arts of Melancholy,” which is led by John B. Whitehead Professor of Humanities and Professor of Music Richard Freedman.

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 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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FUTUREPROOF

Futureproof, HAVERFORD'S CANTOR FITZGERALD GALLERY

FUTUREPROOF at Haverford’s Cantor Fitzgerald Gallery Explores Our Present by Interrogating How We Imagine THE FUTURE

Artists, writers, inventors, moviemakers, militaries, and think tanks have long tried to predict coming technologies or foresee catastrophic events — not merely for entertainment’s sake, but to prepare for possible outcomes, quell anxieties, or gird against tragedy. Shell Oil even has a “Scenarios” team, founded in 1965 and still working today, whose job is to explore “possible versions of the future by identifying drivers, uncertainties, enablers and constraints, and unearthing potential issues and their implications.” A new exhibit at Haverford College‘s Cantor Fitzgerald Gallery, Futureproof, gathers work from contemporary artists on this theme with real-world images and archives from governmental and corporate scenario planners to explore how we have imagined and continue to imagine different futures.

In engineering, industrial design, and architecture, “futureproofing” typically refers to creating something in a way that minimizes or slows down technological obsolescence. Futureproofing methods are often reflective of people’s anxieties, aspirations, and assumptions about the present, sometimes acting as self-fulfilling prophecies. In this sense, they recall another form of proof—proof as mathematical argument, defined by a series of accepted axioms and truths. The artists in Futureproof engage with the many malleable interpretations of futureproofing, drawing from both the legacy of military and corporate scenario planning and the use of semi-fictionalized artifacts or archives as “proof,” or evidence, of alternate timelines or futures yet to come.

So, a 1991 in-house film on climate change produced by the Shell Corporation will be shown alongside a multi-faceted installation by Ilona Gaynor (“Everything Ends in Chaos”), featuring 2D and 3D objects with video in a piece that deconstructs corporate risk assessment. The Guantanamo Bay Museum of Art and History, which foresees that the detention facilities in Cuba have been closed and replaced with a museum that reflects on Guantanamo Bay’s social and political significance, will be represented, as will images and archival documents from Cybersyn Project, the real-life cybernetics economy-management operation of Salvador Allende’s Chilean government.

In a time when each day seems to bring a new cascade of political uncertainties, when every “now” is assumed to be “more than ever” and every crisis feels more unmanageable than the last, Futureproof encourages viewers to interrogate the fraught systems of the present moment and imagine how they might be otherwise.

Futureproof is curated by Ingrid Burrington and features the work of Morehshin AllahyariSalome Asega, Gui Bonsiepe and the Cybersyn Project, the United States Department of Energy, Ilona GaynorAyodamola Tanimowo Okunseinde, Shell Corporation, and The Guantánamo Bay Museum of Art and HistoryFutureproof is supported by the John B. Hurford ’60 Center for the Arts and Humanities.

Futureproof will be on view Oct. 27 through Dec. 17, at Haverford College’s Cantor Fitzgerald Gallery. On Friday, Oct. 27, to celebrate the show’s opening, there will be a talk by curator Ingrid Burrington at 4:30 p.m. followed by a reception at 5:30 p.m. An associated screening of Peter Galison and Robb Moss’s film Containment will take place Nov. 29, at 7 p.m., in the Visual Culture, Arts, and Media building’s screening room. For details and additional related events: exhibits.haverford.edu/futureproof.

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 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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Food

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 PentecostPhilly 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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