Philly Photo Day Outdoor Exhibition at Dilworth Park
Exhibition Walk Thru on Wednesday, June 3, 3:00 – 4:00 PM
Exhibition Dates: May – June, 2015
PHILADELPHIA, PA – Every October the Philadelphia Photo Arts Center (PPAC) invites everyone to take a picture anywhere in the city and submit their favorite for display with thousands of others. This spring all 1,903 photographs taken on Philly Photo Day 2014 will be on display at Dilworth Park, City Hall, Philadelphia.
The outdoor exhibition starts on the west side of Dilworth Park and continues through to the south end of the park. The exhibition will be on display from May – June 2015 and is presented by PNC Arts Alive.
PPAC will host an afternoon walk thru the outdoor exhibition with PPAC‘s Executive Director, Sarah Stolfa. Stolfa will highlight some of the most interesting and inspirational photographs on display as well as discuss the annual project and it’s plans for 2015 when Philly Photo Day will open up to residents in the Greater Philadelphia Area and all 11 counties on Friday, October 9, 2015. Philly Photo Day is PPAC‘s largest annual event celebrating the arts, photography and the region itself.
PPAC will also unveil 40 billboards throughout the city displaying images from Philly Photo Day2014. Photographs will be displayed on the billboards from May 15 – June 15, 2015. The billboard portion is made possible by the support of Clear Channel Outdoor.
Philly Photo Day is a day of educational outreach and engagement when PPAC invites everyone in the city to take a photograph using a phone or camera. The only restriction is that it is taken in Philadelphia on that day. PPAC then prints and hangs every single image for a vast exhibition presenting a reflection of Philadelphia from countless diverse lenses.
“Philly Photo Day is a celebration of how ubiquitous photography has become in our daily lives,” said Sarah Stolfa, Executive Director of the Philadelphia Photo Arts Center. “Thanks to the support of PNC Arts Alive and The National Endowment for the Arts, PPAC had a successful and record breaking Philly Photo Day, facilitating free workshops and access to photographic equipment at community centers throughout the city. On Philly Photo Day, everyone is a photographer.”
PNC Arts Alive and the John S. and James L. Knight Foundation have generously provided support for Philly Photo Day at Dilworth Park.
About the Philadelphia Photo Arts Center
Philadelphia Photo Arts Center is a community hub for contemporary photography. Devoted to the study, practice and appreciation of photography, PPAC organizes innovative exhibitions, inspiring artist lectures, diverse educational offerings, and access to high-end digital equipment for the production of work.
PNC Arts Alive is a multi-year initiative of the PNC Foundation, which receives its principal funding from The PNC Financial Services Group, Inc. The goal of PNC Arts Alive is to help area residents gain access to the arts and to help arts organizations expand and engage audiences. For more information visit www.pncartsalive.com.
About the John S. and James L. Knight Foundation
Knight Foundation supports transformational ideas that promote quality journalism, advance media innovation, engage communities and foster the arts. The foundation believes that democracy thrives when people and communities are informed and engaged. For more, visit KnightFoundation.org.
Arnold Brown, Bird’s Song; Toni Kersey, Gospel to Blues (Bessie Smith); Steven Mogck, John Coltrane: and Alan Ginsberg, Java Jive.
All That’s Jazz, Philadelphia City Hall Art Exhibit Celebrates Jazz
Philadelphia, PA – Art in City Hall, a program of the City’s Office of Arts, Culture and the Creative Economy presents All That’s Jazz in celebration of April as Philadelphia Jazz Appreciation Month. Works in the exhibit were selected by Richard J. Watson, an artist and member of the Art in City Hall Exhibitions Advisory Committee. A call-for-artists was sent out to the Philadelphia region, seeking works inspired, motivated, and or influenced by the idiom of jazz music in all its permutations. Works were to reflect the essence of the spirit of the jazz idiom, extending well into the depths of imaginative interpretation. An opening reception is scheduled for April 8th, 5-7 pm in the Art Gallery at City Hall, Room 116.
Curator Richard J. Watson, an artist and musician sees the power in jazz:
“There is something about jazz that is as indescribable as it is beautiful. It is a most powerful driving force that has inspired a multitude of visual artists to embrace, absorb and transform sound into substance as they too create visions from within.”
Watson selected 60 artists whose works reflect his vision. The exhibit includes photographs capturing various Philadelphia jazz legends, works on paper, fiber, wood and found object sculpture, abstract paintings inspired by the jazz genre and more.
As Philadelphia celebrates Jazz Appreciation Month, visual artists from the region show how the music affects their work. Here is the list of participating artists:
Marlene Adler, Anne Andrei, Steven Berry. Rachel Bliss, Tanya Bracey, Chris Brizzard, Arnold Brown, Martha Bush, Constance Culpepper, Donna Douglass, Donna Dvorak, Eileen Eckstein, Melissa Gilstrap, Alan Ginsberg, Verna Hart, Reggie Jackson, Leroy Johnson, Cavin Jones, Toni Kersey, Marilyn Lavins, Betty Leacraft, Jesse Lentz, Amir Lyles, Claire Marcus, Dindga Mccannon-Mitchell, Dell Meriwether, Christiane Meunier, John Meza, Gina Michaels, Arlene Milgram, Betsy Miraglia, Jeannie Moberly, Steven Mogck, Michael Nathan, Sarah Nathan, Jeleata Nicole, Arthur Ostroff, Bernice Paul, Sibylle Pfaffenbichler, Ellen Priest, Jerry Puryear, Frank Root, Jack Rosenberg, Kathleen Shaver, Deborah Shedrick, Sonia Sherrod, Phyllis Sims, Paul Somerville, Leslie Sudock, Melissa Teasley, Vita Tew, Dane Tilghman, Jaither West, Michael Wiley, Sandra Williams
All That’s Jazz is located in the Art in City Hallon the first floor, and continues in display cases on the 2nd & 4th Floors, NE corner. The exhibit runs through May 29th.
About Art In City Hall:
Art in City Hallpresents exhibitions that showcase contemporary artwork by professional and emerging artists from the Philadelphia region. Encompassing a variety of mediums, techniques, and subjects, this municipal program is committed to presenting a diversity of ideas and artistic explorations. The program strives to link visual artists with the larger community by providing the public with a greater knowledge and appreciation of their artistic achievements. For more information, visit: www.facebook.com/artincityhall.
About Office of Arts, Culture and the Creative Economy:
The mission of the City of Philadelphia’s Office of Arts, Culture and the Creative Economy is to support and promote arts, culture and the creative industries; and to develop partnerships and coordinate efforts that weave arts, culture and creativity into the economic and social fabric of the City. For more information on the Office of Arts, Culture and the Creative Economy, visit: www.creativephl.org, and on Twitter @creativephl.
Philadelphia Jazz Appreciation Month:
With live performances, art exhibitions, discussion panels, and films showcasing the power of jazz in different shapes and forms, Philadelphia Jazz Appreciation Month, during the month of April, reflects on the jazz heritage of the city, along with the vibrant jazz scene that persists to this day. Creative Philadelphia – the Office of Arts, Culture and the Creative Economy (OACCE) is proud to lead the City of Philadelphia in the celebration of Philadelphia Jazz Appreciation Month. Creative Philadelphia has partnered with over 20 arts and culture organizations and groups to promote more than 40 jazz events throughout the city during the month. Philadelphia Jazz Appreciation Month partners include the Kimmel Center for the Performing Arts, Philadelphia Museum of Art, Annenberg Center for the Performing Arts, the Philadelphia Clef Club of Jazz and Performing Arts, Opera Philadelphia, Center City Jazz Festival, and Ars Nova Workshop.
All That’s Jazz, Philadelphia City Hall Art Exhibit Celebrates Jazz
An opening reception is scheduled for April 8th, 5-7 pm in the Art Gallery at City Hall, Room 116
About Art In City Hall:
Art In City Hall presents exhibitions that showcase contemporary artwork by professional and emerging artists from the Philadelphia region. Encompassing a variety of mediums, techniques, and subjects, this municipal program is committed to presenting a diversity of ideas and artistic explorations. The program strives to link visual artists with the larger community by providing the public with a greater knowledge and appreciation of their artistic achievements. For more information, visit:www.facebook.com/artincityhall.
About Office of Arts, Culture and the Creative Economy:
The mission of the City of Philadelphia’s Office of Arts, Culture and the Creative Economy is to support and promote arts, culture and the creative industries; and to develop partnerships and coordinate efforts that weave arts, culture and creativity into the economic and social fabric of the City. For more information on the Philadelphia Office of Arts, Culture and the Creative Economy, visit:www.creativephl.org, www.facebook.com/creativephl and on Twitter @creativephl.
(i)The steps to this particular abstraction… are, like the ascent to any of the abstractions that interest us importantly, an ascent through illusion which gathers round us more closely and thickly, as we might expect it to do, the more we penetrate it. – Wallace Stevens
Metaphor moves in a flare of intuition that is both the recognition of an abstract likeness and the event of a poetic transformation. Arrested, I see: this is that, although it is not. A metaphor is an impossible being, an alchemy of logic and magic, a dun-white horse who – pausing, turning, breathing – returns one’s regard from the verge of a deep dark wood. As in metaphor, similitude is estranged and remade in the tropical grove we enter with Eileen Neff – sometimes in a pitch-dark night, sometimes in the lambent green light of day.
In January 2014, Eileen Neff held a three-week artist’s residency at Monte Azul, a unique amalgamation of contemporary art center, eco-resort, and nature preserve set in the rainforest of southern Costa Rica. While not documentary in any usual sense of the word, the works that comprise Traveling Into View are drawn from her experiences of the residency – experiences of transit and arrival, of the forest’s fecundity and her own limitations in face of such fecundity, of close looking amid profuse stimulus, and of repeated passages (as by foot between her casita and Monte Azul’s café, or by car over the mountain road linking the compound to parts beyond). The photographs Neff made in Costa Rica became the raw material for the digitally-crafted pictures that take on physical forms and spatial relationships in the gallery – all of which has as much to do with painting, sculpture, and literature as it does with the insular traditions of photography. Neff’s constellations of image-objects displace linear coherence with the sensibilities of collage, a mode of expression that draws close to experience while declining to represent causes and effects in a prosaic manner.
As Neff’s work often has, the current project posits a kind of dream-like photographic narrative and then fractures that narrative over the razor edges of temporality and perception. In its introductory passage the installation suggests the unfolding arrival of a beholder who is both rapt by technologically augmented vision and savvy to it. The god’s-eye vista of Window Seat receives a reflexive jab in Pre-Viewing, in which the shadow of a superimposed postcard rack reveals a picturesque view of Costa Rican landscape as a constructed surface. (ii) A knowing gesture, the postcard rack is also a reference to Neff’s oeuvre, as well as a synecdoche for the larger ecosystem of photographic imagery that preconditions the traveler’s perception and representation of the world. Fast on the heels of this canny dialogue comes Mountain Road, a (roughly) three-and-a-half by five-foot gulp of experience in which earthbound sensory overload seems to overflow cerebral maneuver. As the beholder is sped through unfamiliar, sublime terrain, roadside foliage blurs against landscape, and the relation between figure and ground scintillates.
If there is a suggestion in these works that some type of distance may be necessary for sense-
making, there are complex ripostes throughout the project. Two pendants to Mountain Road embody immediate examples. Evoking, respectively, the parted curtain of enlightenment painting and the beady gaze of the taxonomist, The Golden Leaf and Moon-Tropic broach historical modes of looking and picturing that have served to bring the phenomenal into a visual order. These two pictures seem to promise both a grand spectacle and still, close, concentrated seeing. Scrutiny, however, works both ways. In Moon-Tropic, what appears to be the fronds of a tropical plant in the compass of a botanist’s magnifying glass is in fact a reflection, caught in a mirrored disc Neff brought with her as potential working material, along with the roll of Mylar film she used to create Reflected and Reflected 2 (two chromogenic prints that appear later in the installation). At some point in the artist’s process, the photographed mirror-double of botanical fact was twined with the celestial bodies of the Costa Rican night.
Circuits of resemblance are also much at issue in The Golden Leaf, a photograph (and a title) that describes the form of a curtain tie-back, the appearance of a pictured curtain, and the effect of gold pigment on the surface of a print (as in, gold leaf) – not to mention a parallel realm of reference to tropical flora and the grasping fantasies of explorers-cum-treasure hunters. Here the curtain is drawn back on glinting indices of disappeared phenomena, artifacts of the lens made inscrutable in a conjured night. In Neff’s characteristically precise visual language, these first pictures seem simultaneously to reinforce the allure of vision and qualify its capacity to discern. In a related vein, consider the lightbox transparency, Green Honeycreeper, installed alone in an alcove between the front and rear spaces of the gallery. The work stems from a recurrent experience during Neff’s residency: she passed this tangle of trees and the eponymous bird on the walk between the café and her living quarters – (iii) “a regular, brilliant moment had several times each day.”
There is a sensual universe even within minute proximal encounter, a telescoping intensity for which the gesture of isolation here provides a kind of felt analog. A thatch of vines and branches knits the world together, while sprays of color and the very luminescence of the object seem to pull towards a wilder revelation. The experience of keen looking is both irreducible and rich. So rich, in fact, that its expression tends to undercut and overflow representation’s urge towards structure and distance. In the front space of the gallery, across from Mountain Road, gathers a coterie of pictures (though more than pictures) of leaves and birds. This portion of Neff’s project has been aptly described as “a kind of portrait gallery where each leaf is celebrated for the remarkable individual that it is.”(iv) Personified in stature and represented with a penetrating attention usually reserved for revelations of psychological depth, each leaf seems to harbor an interior life, hinted at by the play of shapes and shadows above or below its surface. Individuality, however, is a funny concept in a body of work in which similitude is a magnetic force. To individuate is to break an extensive field into a collection of singularities, but these particular individuals are pulled back to a more fluid state of identity in so many ways. In their analogousness to persons, certainly, they seem to oscillate between this and that. But they are also fluctuant as objects. Permuting the relationship between frame, print, and space of display, these pictures do not settle onto the wall in a way that allows one to forget their presentness as things. (Neff often pushes her work into this territory, as is evident from the very first here – Window Seat, for example, seems not so much hung as suspended in the act of gliding past the wall.) In the leaf gathering, frames float or land in a manner that suggests both a portrait gallery in mid-hang and the pell-mell visual incident of the rainforest. One frame gives up the ghost and allows its occupant to lap waxily onto the floor. Elsewhere in the installation, a few leaves break completely free of frames and present themselves as leaf-green, leaf-shaped leaves (of paper, yes, but isn’t paper just a plant in another form anyway?). Brazenly, these leaf-leaves also have no problem using the furniture to adopt an eye-level posture, or casually taking a seat.
There is a one-to-one ratio migrating through this body of work that tests the boundaries of representation and facsimile. Like a metaphor (or, arguably, a photograph) Neff’s leaves are abstractions that conjoin with the basic structure of the real by magical identification, by the being of resemblance, by metamorphosis. She teases out this kind of slippage with lucent, minimalist humor: amid a grove of uncannily personified plants, perch two birds and a tropical flower that is uncannily like a bird. If the point of taxonomy is to order by articulating difference, then taxonomy is both invoked and exploded here. Names refract and multiply meaning while they identify, and even the material form of an object is fluid – specific and significant, but mutable rather than fixed. In the rear space of the gallery, Neff’s testing and teasing out of analogy becomes both distilled and prismatic. Forms of resemblance cascade through this portion of the installation – doubling, reflection, replacement, and all of their unruly kin are present. One way to approach the variety and complexity at play among these works is through an idea that describes photography as well as metaphor: to reprise is to place into relation, which is to transform.
In addition to a structural relationship between a photograph and that which it pictures, one could argue that all photographs stem from a relation between subject and author. Portrait photographs force the point, however: a portrait is generated in an exchange between two beings, real or imagined. Many of the works in the installation can be understood as portraits of leaves or animals, but while there is more portraiture here than in all of Neff’s prior work, there are only two pictures in which the artist levels the camera at a human subject. First Scene and Second Nature feature a young Costa Rican man who helped Neff with the roll of Mylar film she brought to Monte Azul. At some point during their collaboration, she asked the man to hold a mirror disc in front of his face, and photographed him. While playful, these portraits are also disconcerting – because they hollow out the subject, but perhaps even more so because by de-facing the subject they picture the absence of the beholder. In place of relation between subject and author is a mirror that shifts the gaze to a third space, a move which is itself redoubled when the natural reflection in First Scene is digitally replaced with another landscape in Second Nature. It is poignant that although the beholder’s gaze is deferred in depictions of a human subject, that look is met by the like-but-unlike subject of Oh Brother. The animal (and, perhaps, the forest) is to the human that which is alike but in excess. So, an ascent to metaphor spirals back to the haunting regard of a lone white horse. In this regard is the beholder met – arrested, disclosed, metamorphosed, and returned. Perhaps, although never pictured, it is this being – the beholder – who is traveling into view, estranged and remade in the pitch-dark of an animal eye, on the verge of a deep dark wood.
i Wallace Stevens, “Three Academic Pieces,” The Necessary Angel: Essays on Reality and the Imagination (New York: Alfred A. Knopf, 1951), 81.
ii The postcard rack has been important for the artist both as motif and as an element of installation, for example in Here and There (2012), Postcloud (2012), and International Forest (1990). There are other returning elements here as well: actual pieces of furniture appear for the first time since The Mountain a Bed and a Chair (1992).
iii Eileen Neff, email communication to the author, February 18, 2015.
iv Bridgette Mayer Gallery, Bridgette Mayer Gallery Announces A Solo Exhibition By Gallery Artist Eileen Neff.
Art of the Flower 2015, The Philadelphia Sketch Club, Donald C. Meyer Medal
Art of the Flower 2015 at The Philadelphia Sketch Club is a juried group art exhibition dedicated to florals in honor of Donald C. Meyer. Dianne Meyer presented the First Prize winner, Kimberle Nentwig for her watercolor painting titled Dahlia Darling, a golden medal in remembrance of her late husband.
The exhibition is an exuberant display of floral artwork, the jurors were Al Gury, chair of the painting department at Pennsylvania Academy of the Fine Arts, Lauren Sweeney, fine artist and Marylyn Waltzer, member of the Guild of Natural Science Illustrators. The entry process is completed on-line at The Philadelphia Sketch Club website and hundreds of artists submitted images for consideration by the jury who then select artworks for the awards. The jurors selected an eclectic mix of media for the awards but being in the show is a goal itself for many regional artists.
Spring is all everyone is thinking about, The Art of the Flower show excites the desire to preserve some of that delightful satisfaction of better days. Alice Chung captures a moment of quiet and warmth in her composition, the balance of color, tone and brushwork feels satisfying and serene. Flowers have always been used for decoration, welcoming guests, gifts of love and adornment for sacred ceremonies. Alice Chung‘s Spring is naturally atmospheric, defining a magical moment in time with loose, liquid strokes, empathetic marks and gestural cues to an energetic concept of a space and time of renewal.
“I am a direct painter, painting from life to capture the moment.The excitement of the moment and the immediacy are what drive me.It is that total impression that creates the completed painting.I focus on color, harmony, light, mood, texture, composition and the calligraphy of my brush strokes. I love to experiment with a variety of palettes and surfaces. It is the visual stimulation that drives and moves me forward.” – Doris Peltzman artist statement, Artists’ House Gallery
A Cup Full of Peonies by Doris Peltzmanpossesses a subdued yet elegant presence, the painting has an ethereal quality. Even though the palette is restrained, the alla prima mark-making expresses the subject though tone, light and action in powerful impressionism. Peonies are my favorite flower but they really only last a day, Doris narrates that brevity with experience and skill.
Suzanne Comer was so sweet to me at the reception for Art of the Flower 2015 at The Philadelphia Sketch Club, offering to take a photo of me with my accepted entry. She said people rarely take pictures of me with my work and we each took photos of each other with our artwork. It was a nice surprise to see that both of us had used digital photo montage to make floral artwork. While my composition has an informal composition, Suzanne Comer‘s Panoply is a formal composition with a coherent balance of shape, color and negative space with the charm of individual flowers emphasized.
“Suzanne Comer regards photography as an art form, often expanding the boundaries by using portions of her photographs to digitally create a new and different whole or montage. With the perspective of a painter, Suzanne’s style stimulates the viewer’s own interpretation and feelings. Therefore, in full circle, creating new personal meanings” – Media Arts Council
Art of the Flower 2015,The Philadelphia Sketch Club, Kimberle Nentwig, Dahia Darling, watercolor, First Prize and Maria Kurtzman, White Roses and Kumquats, oil on board, Second Place
“Laura Ducceschi’s photography captures the magical way natural light accentuates beauty in nature and in people. Laura’s award-winning fine art photography portrays an intimate view of our beautiful world. Her images reveal how natural light emphasizes color and texture._ excerpt Laura Ducceschiartist statement
As a photographer and painter I was particularly satisfied to see a top award go to a deserving photograph. Photography isn’t about just shooting hundreds of photos to find a good image, the photographer has to make it happen. The tools of a photographer are not unlike painters, the goals are similar, the time and effort equivalent. To have a jury of peers, experts in their field, select a photograph signals the change in acceptance towards the art form. There are a lot of photographs in the show, Philly is as much a photography town as it is a painters town. The history of photography in Philadelphia parallels PAFA and the influence of photography on modern painting is undeniable.
Art of the Flower 2015,The Philadelphia Sketch Club, J D Mitchell, Chestnut Hill Iris, digital print on 100 lb paper, 12″ x 12″ framed
The excitement of an opening, meeting the artists and their families, taking pictures, drinking and eating, is a social practice that is a reward in itself. It is so much fun to watch folks checking out the competition, eves dropping on critiques and comparing and contrasting the artworks with friends. One wonders why artists subject themselves to the process of acceptance and I think it’s the feeling of accomplishment, aside from the exclusivity, of being recognized for your hard work.
Please join us at historic The Philadelphia Sketch Club for an ongoing exhibition of works by one of our professional member. Free and open to the public. STEWART ROOM GALLERY New works by Lauren Sweeney. March 7-30, 2015See her Online Gallery under “Sweeney” in our PSC Member Gallery HERE . Reception: Saturday March 21, 2015, 2:00 – 4:00pm at The Philadelphia Sketch Club. Open to all.
A lifetime of scientific observation is the underpinning of the artist’s interest in capturing the essence of her subjects in watercolor. In her still life compositions, she focuses on close observation of the organic forms of flowering plants, vegetables, seashells and gourds for their exuberant variations in shape, color, texture and pattern.” – Lauren Sweeney
As a cult practitioner and follower monochromatic image makers, let’s just say I was a little more than excited (okay, I was ecstatic!) to see the exhibit, A Deeper Look Into the Art ofRebecca Nurickand Marco Hill at the Jed Williams Gallery on February 28th. In addition to the opening reception held 2 weeks prior, this reception offered a variety of additional smaller prints not shown in the exhibit at easily affordable prices for cash and carry.
According to gallery owner and fine artist Jed Williams, “These unique photographs expand on the themes currently displayed by both photographers at the gallery. The images provide a deeper look into the artistic vision of Hill and Nurick.”
After I was welcomed into the cozy and inviting space by Rebecca Nurick, Marco Hill, and Jed Williams, immediately I could witness the similarities shared between both exhibits as my eye scanned across the gallery space. Besides making some interpretations of their respective visions in black and white, I learned that both Nurick and Hill are heavily influenced from their training in film capture and processing. One fitting example is Hill’s Into the Darkness, a black and white 35-mm film capture of an ascending stairwell that appears to rise toward the cavernous and shadowy unknown.
Other similar pieces between both artists follow street themes, such as Hill’s 9th and Mifflin Sunset and Nurick’s Train. Not only do they offer a gritty urban vibe but they are portrayed in the fashion of Kodachrome color. Common themes exist – both artists offer feelings of emotional connection and timelessness, yet both also convey ephemerality and human transience in their story telling. A dynamic interplay can be seen as dotted lines are invisibly connected back and forth amongst their works.
Many of Marco Hill‘s street photographs were captured in South Philadelphia where he resides, with this series punctuated by Still Standing, an emotionally moving image of an abandoned log cabin that harkens back to Hill’s native Virginia roots. His sense of humor, quick wit, and sense of curiosity is evident in unusual and quirky captures such as Yawn Jawn, Brick Work, and Abandoned Door.
“I roam the streets of the city looking for things that are unusual or things that I think would ordinarily go unnoticed…I actually got started in art as a musician, but after I found a love for photography the camera replaced the guitar as my instrument of choice. I call my approach to photography playing the blues with a camera.”
One of Rebecca Nurick‘s special prints are quite powerful: a striking image of a fearless mythological sunflower standing heroically in the face of foreboding dark cumulus clouds – with the hint of a silver lining. Her portraitures range from the human form to animal skeletons, expressed monochromatically, printed digitally, but expressed with the look of silver gelatin. I was instantly struck at how Torso, with it’s coppery tinge and grainy cloak has the look and feel of a super sized tintype. Also striking is Viaduct, another moody and cataclysmic image that instantly transported me back in time to David Lynch‘s Eraserhood.
“I find myself gravitating to photography, as it allows me to capture an image that is interesting to me and alter it in a way that can give it a hyper-real quality while still maintaining its true nature. The elevation of the ordinary is thrilling to me. The creative post-production of a photo is as enjoyable to me as the act of capturing the original subject.”
This exhibit consists of very well-crafted images that will appeal to fans of digital, film, and alternative processing techniques alike. Kudos to Jed Williams for this excellent pairing of photographers in one show, as both artists’ works play off each other and form a dialogue. Mystification is on display through March 15, 2015.
Jed Williams Gallery is a unique art space owned and operated since 2010 by artist Jed Williams. Jed showcases up-and-coming and inspiring artists from the local area, including his own work, along with providing a look into the workings of an actual artist studio. The gallery shows a variety of thoughtful, cutting edge works ranging from 2D, mixed media and painting, to video, installation and sculpture.
DoN Brewer, digital photo, Philly Photo Day 2014. Prints available at Philadelphia Photo Arts Center
Mystification, 
