Category Archives: Philadelphia

The Philly art scene is vibrant, filled with characters who create innovative, avant garde art in the 21st Century. New techniques and technologies are converging to develop a new vision of reality.

Afromythology

Shawn Theodore, Fanm Jade Ble (Blue Jade Woman), 2019

Shawn Theodore: Night Stars
A Solo Exhibition of New Work
February 26 – March 20, 2021

February 11, 2021 (Philadelphia, PA) – Paradigm Gallery is pleased to present Night Stars, a solo exhibition of new photographic work by interdisciplinary artist Shawn Theodore. Night Stars is an expansion of Theodore’s investigation into a space he calls ‘Afromythology’, which unites
the real and imaginary histories and futures of African Americans. In Night Stars, Theodore widens this space by melding together the traditions of African indigo making and the magical powers of water and stars.

The evocative exhibition illuminates the space where they all converge, a body of work that is a deep, deep blue. Night Stars marks the first exhibition at Paradigm with the artist. Night Stars is open to the public from February 26 – March 20th with an opening event on Friday, February 26th at 5:30PM.

Theodore makes connections, finds linked points and intersections within the past and seeing what is repeated in the current he identifies recurring themes, like spirituality. Spirituality has been passed on from generation to generation, and is something that is ostensibly part of the Black experience, but it is not something you can see or touch; it happens without direct knowledge, just faith.

In Night Stars, Theodore looks deeper for where instances of faith happen such as in music, quilt making or code switching. All of these hold examples of coded language, subversive art and intent and Night Stars is constructed from these metaphysical bridges. Bridges like quilts that were used to smuggle secret messages guiding people to freedom, far beyond the maker’s own physical passing. Or the Dogon tribe of West Africa, who were master astronomers.

They believed that their ancestors were descendants of a species from the Sirius star system eight and half light years away and to be free meant going back home. Though they were physically limited, their collective celestial knowledge somehow traveled across time and space to other groups of Black people who used it to understand the same set of stars that were used in the same way: to be led to freedom. ‘Afromyth’ sits upon these bridges.

The works in Night Stars are a series of statuesque portraits, monuments within a vast space of blue. Blue is a multi-tiered reference within the exhibition. The color is known to ward off evil in African and African American culture and Theodore questions how that symbolic signal came to
be and why it still holds that power today.

The artist says, “To create in blue, one must first understand its powerful nature. There has to be a world that exists inside of the color. A spiritual process is happening that is begging us to look inside of it, and somewhere within it are answers”. Theodore connects the symbolic color to the 19th century process of cyanotype.

The artist has always been fascinated by the historic practice, which produces a cyan-blue print; however, it is extremely rare to find a Black subject in one of these prints. Rather than shooting in cyanotype, Theodore uses it as a guideline, photographing his subjects using blue filters and blue cast lights.

The resulting works are less historic than they are revolutionary. On the series Theodore says, “Featured in this collection are portraits made of bejeweled deities in the indigo-hued ether, the fervor of fête revelers, the quiet stillness amongst the dense foliage and haints of Low Country of South Carolina, possession in the Blue Mountains of Jamaica, and sunrise reverence at the edge of the Caribbean Sea. At the center is the viewer, who stands at the bardos of these seemingly disjointed experiences, their presence unifying the real and unreal”.


Photography often acts as a fast route to see the past, but what is beyond the camera’s sight? Subconsciously, the brain creates narratives beyond physical photographs, beyond what we logically know or see. These leaps are our imagined archives and it’s within their boundless possibilities that Night Stars lives, filling the gaps.

*Due to COVID-19, “Night Stars” will be open for regular weekend hours with limited capacity and is available to view by private appointments during the week until further notice. The digital exhibition twin is available on https://www.paradigmarts.org/ for viewing from home. These policies are dependent on the current policies of the CDC, WHO and the Governor and Mayor’s offices. Paradigm Gallery’s number one priority is the safety and wellness of their visitors. For live updates on the exhibition and appointments, please visit the Paradigm website and socials. For any questions on Paradigm’s current policies, please email info@paradigm-gallery.com.

About Shawn Theodore
Shawn Theodore (b. 1970, Germany) is an award-winning photographer whose work opens broad conversations regarding the role of the photographer in the shaping of agency and imagery, engages in new forms of storytelling, and impacts the trajectory of the collective black consciousness.


Theodore has participated in exhibitions at various institutions, galleries and fairs, including the African American Museum in Philadelphia (2017, 2018), Mennello Museum of American Art (2018), The Barnes Foundation (2017, 2018, 2019), Steven Kasher Gallery (2018), AIPAD (2018, 2019), Hudson Valley Community College (2018), Catherine Edelman Gallery (2017), The Bakalar & Paine Galleries at MassArt (2017), Snap! Orlando (2018), Richard Beavers Gallery (2018), PRIZM Art Fair, Scope Art Fair, Philadelphia Photo Arts Center, Rush Arts Gallery (2017, 2018), and the University of the Arts (2019).

His commercial projects include works for Apple, Showtime Networks, RocNation, PAPER Magazine, New York Magazine, Smithsonian Magazine, The Atlantic, The New York Times, PDN and others.
Theodore was awarded the prestigious PDN’s 30 New & Emerging Photographers to Watch (2019), the Getty Images / ARRAY ‘Where We Stand’ (2018) grant and a grant from the Knight Foundation for ‘A Dream Deferred’ (2018). He is a two-time nominee of The Pew Center for Arts & Heritage Fellowship, and a nominee of the Magnum Foundation Fund.

Theodore earned his BA in JPRA (Journalism, Public Relations and Advertising) from Temple University. He currently attends the MFA for Photography program at Savannah College of Art and Design (SCAD Atlanta). Theodore is a current trustee of the Rush Philanthropic Arts Foundation and the Philadelphia Photo Arts Center.

About Paradigm Gallery
Paradigm Gallery + Studio® was established in 2010 by co-founders and curators, Jason Chen and Sara McCorriston. The gallery exhibits meaningful, process-intense contemporary artwork from around the world. Now open 11 years, Paradigm Gallery is globally recognized and known as a tastemaker within their greater Philadelphia arts community. As the gallery grows, it maintains its original mission to keep art accessible. Through monthly donations, free public art installations, and initiatives like Insider Picks, Paradigm Gallery, continues to be a champion of small businesses and emerging and mid-career artists.

Location:
746 S 4th St
Philadelphia, PA 19147
Media Contact:
Lainya Magaña, A&O PR
347 395 4155
lainya@aopublic.com

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Fellows

Phillips Mill Foundation for the Arts Hosts a Virtual Event “Meet the Fellows of the New Hope Colony Artist Residency” on Sunday, February 21

Meet the Fellows of the New Hope Colony Artist Residency


The Phillips Mill Foundation for the Arts is inviting the public to attend a virtual event on Sunday, February 21, at 4 pm to meet the women artists participating in their New Hope Colony Artist Residency this April. Katie Albert, the Artistic Residency Director will moderate a lively introduction to the New Hope Colony Artist Residency and the inaugural Fellows. To join
in the conversation, RSVP to:info@phillipsmillfoundation.org

Press Contact: Amy Rosi | AROS COMMUNICATIONS | arosi@aroscommunications.com | 917.940.9763

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Paradigm

Kate Glasheen: DEAD KINGS, II 

Crystal Latimer: KEEPSAKES 

December 4, 2020 – January 9, 2021 

(left) Kate Glasheen, Dead King 27 [20th Century Iraqi President], 2020,
Pen and Ink, 16” x 20”
(right) Crystal Latimer, Take Reign of Backroads, 2020 Acrylic, pastel, gold leaf,
cotton fiber tassels on panel 24” x 30” (plus tassels)

Paradigm Gallery is pleased to present two solo exhibitions of new works by contemporary artists, Kate Glasheen and Crystal Latimer. Glasheen’s exhibition, DEAD KINGS, II (pronounced ‘the second’), is an intricate body of work that depicts world leaders past, present, and dead and comments on their obsessions with materialism and legacy. Latimer’s exhibition, KEEPSAKES, marks the artist’s first time showing at Paradigm and is a series of mixed media paintings that act as colorful reminders of one’s own inner-strength. Though the exhibitions exist as separate bodies of work, they both explore the concept of power, external and internal, through historical references and imagery. DEAD

KINGS, II and KEEPSAKES are opening* on December 4, 2020 and on view through January 9, 2021. 

DEAD KINGS, II is a follow up to Glasheen’s 2018 Paradigm exhibition, DEAD KINGS, which presented compositions of fictional rulers in ink on paper. Though fabricated, Glasheen’s characters were eerily connected to the contemporary leaders of today and for this exhibition, the leaders are now real. The timeline’s maw has expanded to swallow up the current day and Glasheen’s Kings’ relevancy moves from allegorical to actual. While her cast of characters are still skeletal, which is typical of the artist’s practice, they are recognizable in the details; their legacies constructed in ink. DEAD KINGS began as a sarcastic body of work that mocked the historical patterns of power; however, as unwieldy kings became contemporary, no longer a thing of the past, Glasheen wonders, ‘With them so close, is the joke the same? Is it funny at all, anymore?’. DEAD KINGS, II seeks to expose the desperate flailings of these rulers to maintain power. Power is temporary, and time is the only King. 

KEEPSAKES is the first body of work in a brand new series by Latimer that continues the artist’s fascination with storytelling and affirmations. In her practice, Latimer reinterprets Western historical art to create a connection between the past and the present. The mixed-media paintings in KEEPSAKES are colorful and bold, as the artist uses acrylics, gold leaf, and cotton fiber tassels. The works look like tapestries, an art form that was long ago favored for its accessible and portable storytelling abilities and through the use of contemporary iconography, Latimer tells stories of inner strength, positivity and triumph. In her previous work, the artist painted masculine imagery like battle scenes of conquest and male historical figures, but for KEEPSAKES, the imagery and color story is re-interpreted as feminine. Power comes from within and Latimer’s works act as an evocative visual reminder of that inner strength. 

*Due to COVID-19, “DEAD KINGS, II” and “KEEPSAKES” will be available for viewing by appointment only or on https://www.paradigmarts.org/ until further notice. These policies are dependent on the current policies of the CDC, WHO and the Governor and Mayor’s offices. 

Paradigm Gallery’s number one priority is the safety and wellness of their visitors. For live updates on the exhibition and appointments, please visit the Paradigm website and socials. For any questions on Paradigm’s current policies, please email info@paradigm-gallery.com. 

About Kate Glasheen 

Kate Glasheen graduated from Pratt Institute in Brooklyn, NY with a Bachelor’s Degree in Fine Arts. Kate has since been a creator, artist, and contributor for several critically acclaimed books, participated in exhibitions across the country, and worked on some of the biggest properties in entertainment. Her artistic interests find communion in fine and sequential art under the notion that there’s something hilarious about something that’s not funny at all. 

Kate has exhibited her work in spaces such as LA’s Gallery 1988, Philadelphia’s Paradigm Gallery, and Brooklyn’s Gristle Gallery. Published works include Top Shelf’s A Radical Shift of

Gravity (with collaborator Nick Tapalansky), contributions to the Adventure Time series (BOOM! Studios), Hybrid Bastards! (Archaia Entertainment), The Sakai Project (Dark Horse Comics), several entries in the Graphic Canon series (Seven Stories Press), Resist! (Françoise Mouly, Nadja Speigleman, and Desert Island), Kickstarter funded Bandage: A Diary of Sorts, and Line Webtoon’s dark teen drama, Varsity Noir

Commercial clients include Paramount Pictures, Cartoon Network, AMC, Topps, Inc., and many others with work spanning such properties as Star Wars, Indiana Jones, and The Walking Dead

About Crystal Latimer 

Crystal Latimer was born in Hollywood, CA but grew up in Ellwood City, PA. In 2010, Crystal completed her BFA Slippery Rock University. She then went to receive an MA and MFA from Indiana University of Pennsylvania in 2013 and 2016, respectively. After graduating, Crystal taught several courses at Penn State New Kensington and Indiana University of Pennsylvania, Punxsutawney and has lectured at Slippery Rock University and Carlow University. 

Crystal’s work has been shown extensively in both solo and group exhibitions, including at the Pittsburgh International Airport, Pittsburgh Cultural Trust, Pittsburgh Center for the Arts, Chautauqua Institution, The Mine Factory, George Washington University, and Union Hall among others. She has shown her work in Hong Kong, China, South Bank, London, as well as participated in a residency at the Joaquin Chaverri Fabrica de Carretas in Sarchi, Costa Rica. Crystal’s work has been featured in Create!, Pikchur, Local Arts PGH, Art Maze, Ruminate, and Fresh Paint Magazines. Her work is included in both public and private collections including those of Indiana State University of Pennsylvania, PNC Corporate, the Benter Foundation, and Wyndham Tryp Hotel. 

About Paradigm Gallery 

Established February 2010 in Philadelphia, Paradigm Gallery began as a project between co-founders and curators, Jason Chen and Sara McCorriston, as a space to create and collect in a welcoming gallery setting. Now open 10 years, Paradigm Gallery is globally recognized and known as a tastemaker within their greater Philadelphia arts community. As the gallery grows, it maintains its original mission to keep art accessible. Through monthly donations, free public art installations and initiatives like Insider Picks, Paradigm Gallery, continues to be a champion of small businesses and emerging artists. 

Location: 

746 S 4th St 

Philadelphia, PA 19147 

Media Contact: 

Lainya Magaña, A&O PR 

347 395 4155 

lainya@aopublic.com

Thank you to Madison Fishman for the content of this post.

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Virtual

Getty Research Institute and Philadelphia Museum of Art Announce Two-Part Virtual Event

Getty Research Institute and Philadelphia Museum of Art Announce Two-Part Virtual Event Spotlighting the Iconic Arensberg Collection and Legendary Couple Who Created It

LOS ANGELES and PHILADELPHIA— The Getty Research Institute and the Philadelphia Museum of Art are pleased to announce a two-part virtual event exploring the display of one of the most important private collections in the United States of avant-garde and pre-Columbian art.

During the first half of the twentieth century, Louise and Walter Arensberg carved out a unique place in the history of collecting. No one before them had made such audacious connections between modern painting, Renaissance literature, and pre-Columbian sculpture; and few, if any, used collecting more forcefully as a medium for artistic creation and intellectual exploration.

Much has been made of the significance of how the Arensbergs’ collection took shape in their Manhattan apartment following the Armory Show in 1913 and of their influential role as patrons in the New York Dada circle. Until now, less has been understood about how their collection expanded and changed in character after their move to Los Angeles in 1921, particularly after they purchased their Hollywood home and turned it into a house museum and research institute. For the next three decades, prior to the establishment of a public modern art museum in the region, the Arensbergs put the European avant-garde, the English Renaissance, and Mesoamerican civilizations into dialogue in dense and playful displays that shocked and inspired visitors—including some of the period’s leading artists, writers, and curators. In 1950, the couple gifted their collection of avant-garde and Pre-Columbian art to the Philadelphia Museum of Art. When Louise and Walter died in 1953 and 1954, respectively, their rare books, manuscripts and personal papers were gifted to California’s Francis Bacon Library (now housed at the Huntington Library).

In this two-part event, Mark Nelson, William H. Sherman, and Ellen Hoobler, authors of the recently published book Hollywood Arensberg: Avant-Garde Collecting in Midcentury L.A. (Getty Research Institute), discuss and illuminate the Arenbergs’ fascinating collection.

Part I: The Arensbergs’ Hollywood House-Museum: Tuesday, December 15, 2020, 6:00–7:30 p.m. EST. Arcadia Library Lecture.

Matthew Affron, the Philip and Muriel Berman Curator of Modern Art at the Philadelphia Museum of Art, will moderate a lively discussion with the authors as they share how they mined archival materials, including at the Philadelphia Museum of Art, to uncover the unpublished history of the Arensberg collection on the West coast, and ultimately reconstruct how the works of art were displayed in their Hollywood home. Drawing from this new research, the discussion will also examine how this display reflected the collecting tastes and worldview of the Arensbergs.

Please visit Philadelphia Museum of Arts’ site to register in advance for this free online event: https://philamuseum.org/calendar/event/arensbergs-hollywood-house-museum

Part II: The Arensberg’s Collection: Space, Place, Time: Tuesday, March 9, 2021, 3:00–4:30 p.m. PST

In the second of two conversations, Mary Miller, director of the Getty Research Institute, and authors Mark Nelson, William H. Sherman, and Ellen Hoobler will explore how the context of the collection shaped how it was assembled, displayed, and interpreted.

Register in advance for this online event: https://getty.zoom.us/webinar/register/WN_gTiIjKdlS2qoVPl6jV6cQQ 

About the Participants

MATTHEW AFFRON is the Muriel and Philip Berman Curator of Modern Art at the Philadelphia Museum of Art.

ELLEN HOOBLER is the William B. Ziff, Jr., Associate Curator of Art of the Americas at the Walters Art Museum in Baltimore.

MARY MILLER is the director of the Getty Research Institute.

MARK NELSON is an author, design director, and partner at the book design firm McCall Associates in New York.

WILLIAM H. SHERMAN is director of the Warburg Institute in London.

Sponsor

The Arcadia Library Lecture at the Philadelphia Museum of Art is generously supported by the Arcadia Foundation.

About the Louise and Walter Arensberg Collection in Philadelphia

Louise and Walter Arensberg’s extraordinary gift to the Philadelphia Museum of Art in 1950, together with that of A. E. Gallatin, forms the cornerstone of the institution’s modern art collection. Their path to becoming collectors was set in 1913 after a visit to the legendary Armory Show in New York, where they encountered Marcel Duchamp’s Nude Descending a Staircase (No. 2), a painting they would later acquire. In 1915 they eagerly opened their home to Duchamp, inaugurating a forty-year friendship and collaboration between the artist and the collectors.

During their collecting career, the Arensbergs purchased works by Henri Matisse, Pablo Picasso, Georges Braque, Salvador Dalí, Marc Chagall, and Vasily Kandinsky, among others, and assembled the largest collection of Constantin Brancusi’s sculpture outside Paris. As their interests extended well beyond Western art, their holdings of pre-Columbian art were displayed alongside contemporary works. The couple amassed the foremost collection of Duchamp’s work in the world, contributing to making the museum in Philadelphia a place of pilgrimage for generations of artists and lovers of the avant-garde.

About the Getty Research Institute

The Getty Research Institute is an operating program of the J. Paul Getty Trust. It serves education in the broadest sense by increasing knowledge and understanding about art and its history through advanced research. The Research Institute provides intellectual leadership through its research, exhibition, and publication programs and provides service to a wide range of scholars worldwide through residencies, fellowships, online resources, and a Research Library. The Research Library—housed in the 201,000-square-foot Research Institute building designed by Richard Meier—is one of the largest art and architecture libraries in the world. The general library collections (secondary sources) include almost 900,000 volumes of books, periodicals, and auction catalogues encompassing the history of Western art and related fields in the humanities. The Research Library’s special collections include rare books, artists’ journals, sketchbooks, architectural drawings and models, photographs, and archival materials.

About the Philadelphia Museum of Art

The Philadelphia Museum of Art is Philadelphia’s art museum. A place that welcomes everyone. A world-renowned collection. A landmark building. We bring the arts to life, inspiring visitors—through scholarly study and creative play—to discover the spirit of imagination that lies in everyone. We connect people with the arts in rich and varied ways, making the experience of the Museum surprising, lively, and always memorable. We are committed to inviting visitors to see the world—and themselves—anew through the beauty and expressive power of the arts.

Social Media

Twitter/Facebook/Instagram/Tumblr/YouTube: @philamuseum

Press Contacts

Getty Research Institute
Amy Hood, Getty Communications
ahood@getty.edu

Philadelphia Museum of Art
Justin Rubich, Media Relations Coordinator
Justin.rubich@philamuseum.orgpressroom@philamuseum.orgNewsroom

Contact

Norman KeyesDirector of CommunicationsNKeyes@philamuseum.org(215) 684-7862/M: 215-460-9568
Joy DeibertSenior Press OfficerJoy.Deibert@philamuseum.org(215) 684-7864/M: 267-667-2622
Justin RubichMedia Relations CoordinatorJustin.rubich@philamuseum.org(215) 684-7363/M: 321-422-9734
Press Roompressroom@philamuseum.org(215) 684-7860

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Getty Research Institute and Philadelphia Museum of Art Announce Two-Part Virtual Event Spotlighting the Iconic Arensberg Collection and Legendary Couple Who Created It

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Dec 08,2020-Museum Publishes Scholarly Volume of American Furniture featuring Masterpieces from the CollectionMain Building

2600 Benjamin Franklin Parkway
Philadelphia, PA 19130
215-763-8100Hours

  • Sunday, 10:00 a.m.–5:00 p.m.
  • Monday, Closed
  • Tuesday, Closed
  • Wednesday, noon–7:30 p.m.
  • Thursday, 10:00 a.m.–5:00 p.m.
  • Friday, noon–7:30 p.m.
  • Saturday, 10:00 a.m.–5:00 p.m.

Thank you to the Philadelphia Museum of Art for the content of this post.

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Video

Charles Clary: Be Kind Rewind

An immersive solo exhibition of new work

by Charles Clary


Exhibition Dates: June 26 –August 8, 2020

Charles Clary: Be Kind Rewind

Paradigm Gallery is pleased to announce Be Kind Rewind, an immersive solo exhibition of new works by Contemporary artist, Charles Clary, opening* on June 26, 2020 and remaining on view through August 8, 2020. Presented as an immersive video store installation, Be Kind Rewind is comprised of 1,000 new paper relief works from Clary’s ongoing VHS series, making it the largest showing of VHS since its inception in 2016, and explores the cathartic power of shared nostalgia.

Charles Clary: Be Kind Rewind

VHS is a reactionary body of work to the passing of Clary’s parents, both of whom he had a complicated relationship with growing up. As they were often absent during his childhood, movies acted as a surrogate babysitter. Clary began thinking about how his nostalgia for a happier childhood could be translated through his work and used as a way to channel his grief. A pop culture fanatic, Clary began to notice cheap, 50 cent VHS tape copies of his favorite movies at his local thrift stores. Analog and carelessly discarded, these films held a lot of emotional significance to Clary, who saw them as “beautiful scarifications”, a traumatic moment healed by a film.

Charles Clary: Be Kind Rewind

Clary sourced every one of Be Kind Rewind’s massive number of works at thrift stores or garage sales, with a large number being old copies of horror movies. A self described ‘horror nut’, Clary always felt a kindred spirit to the final person standing in a scary movie – surviving through the trauma. Not wanting to take away from the cover’s imagery, Clary will design around what he feels is important and then will carefully cut and layer 15 pieces of paper into the slipcase, salvaging and elevating the artifact with a newfound intricacy and depth. Viewers will recognize old favorites like Tron, Labyrinth and Dark Crystal, movies that have become synonymous with Clary’s childhood cinematic history. Lovingly handmade, Be Kind Rewind reimagines a mom and pop video store where visitors can take coordinating tabs to the register to “rent” a tape, making it an immersive and joyful experience. From a first date to the surprise twist ending of a thriller, watching movies has become a communal human experience. Be Kind Rewind reminds us of our collective human spirit through the power of nostalgic connection and in doing so, brings us all a little bit closer.

Charles Clary: Be Kind Rewind

*Due to COVID-19, “Be Kind Rewind” will be available for viewing by appointment only or on https://www.paradigmarts.org/ until further notice. These policies are dependent on the current policies of the CDC, WHO and the Governor and Mayor’s offices. Paradigm Gallery’s number one priority is the safety and wellness of their visitors. For live updates on the exhibition and appointments, please visit the Paradigm website and socials. For any questions on Paradigm’s current policies, please email info@paradigm-gallery.com.

Charles Clary: Be Kind Rewind

About Charles Clary
Charles Clary was born in 1980 in Morristown, Tennessee. He received his BFA in painting with honors from Middle Tennessee State University and his MFA in painting from the Savannah College of Art and Design. He has shown in exhibitions at Galerie EVOLUTION-Pierre Cardin in Paris, France, Pierogi Gallery and Nancy Margolis Gallery in New York, Spoke art in San Francisco, and museum shows at Mesa Contemporary Art Museum, Gadsten Museum of Art, and Cornell Museum of Art. He has also completed a three week residency in Lacoste France, completed a painting assistantship with Joe Amrhein of Pierogi Gallery in Brooklyn NYC, and had work acquired by
fashion designer Pierre Cardin and gallery owner James Cohan.

Clary has been featured in numerous print and Internet interviews including, This is Colossal, WIRED magazine (US and UK), Hi Fructose, Beautifuldecay.com, Bluecanvas Magazine, and This Is Colossal as well as a recent feature in American Craft Magazine. He was also featured in the Art On Paper Art Fair with Kenise Barnes Fine Art. He has also been featured in publications including 500 Paper Objects, Paper Works, Paper Art, Papercraft 2, PUSH: Paper, and The New Twenties. Charles has exhibited regionally, nationally, and internationally in numerous solo and group shows. Clary currently lives and works in Conway SC.

About Paradigm Gallery
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. Now open 10 years, 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:
746 S 4th St
Philadelphia, PA 19147
Media Contact:
Lainya Magaña, A&O PR
347 395 4155
lainya@aopublic.com

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