Category Archives: Paintings Philadelphia

oils, acrylics, watercolor, mixed media, ink, philadelphia

Emma Amos

Philadelphia Museum of Art to Present First Major Retrospective Exhibition Dedicated to Emma Amos (1937–2020)

Emma Amos Retrospective PMA
“Godzilla,” 1966, by Emma Amos. Oil on canvas, 50 × 46 inches; framed: 51 1/4 x 47 1/4 inches. Munson Williams Proctor Arts Institute Museum of Art, Utica, NY.

October 11, 2021January 17, 2022 

Morgan Galleries and Jane and Leonard Korman Galleries 150153 

In October, the Philadelphia Museum of Art will present the first major retrospective exhibition of the work of Emma Amos. As a member of the Black artist collective, Spiral, in the mid-1960s, an active participant in the Guerilla Girls of the 1980s, and a pathbreaking multimedia artist until her death in 2020, Amos made vibrant, witty, and passionate works that challenge, unsettle, and sometimes altogether reject the dominant visual codes of American life. Across her prolific career, Amos’s art explored the links among personal biography, history, and the politics of race and gender in America. Organized by the Georgia Museum of Art, Emma Amos: Color Odyssey surveys Amos’s body of work from the late 1950s to the 2010s for the first time, highlighting her bold approach to printmaking, painting, and weaving, and the distinctive combination of disparate materials and artistic techniques that she employed to produce works of unmistakable artistic and critical charge.

In an interview in 1991, Amos remarked, “Every time I think about color, it’s a political statement.” The exhibition will explore the rich implications of that claim, following the ways in which Amos’s works investigate aspects of identity and privilege while unsettling the lines between figuration and abstraction, craft and fine art, beauty, and power. Emma Amos: Color Odyssey will begin with the artist’s early years when, finding her way to New York by way of London, she would become the youngest and only female member of Spiral, which formed in response to the March on Washington for Jobs and Freedom in 1963. These early works reveal an artist beginning to connect an interest in abstract expressionism to problems of figuration and subjectivity posed by the realities of American racism, with Amos exploring the significance of color as it relates to the Black female body. This subject would go on to become a major focal point throughout Amos’s career as she began to engage more deeply with mediums such as weaving and printmaking and to participate in the feminist and multicultural debates of the 1970s and 1980s.

Emma Amos Retrospective PMA
“American Girl,” 1974, by Emma Amos. From the portfolio Impressions: Our World, Volume 1, 1973-1974. Printed by Robert Blackburn Printmaking Workshop, New York. Etching and lift ground aquatint (edition of 35), plate: 15 3/4 × 19 13/16 inches; sheet: 22 1/8 × 30 inches.; framed: 27 1/2 × 35 1/2 inches. Purchased with the Lola Downin Peck Fund, 2018. Image courtesy Philadelphia Museum of Art, 2021.

The exhibition is organized chronologically and thematically, tracking how Amos pushed her painting, weaving, and printmaking practices and often combined these media to better represent the grace, beauty, and power of Black figures, from anonymous models to leaders such as Paul Robeson and Zora Neale Hurston. Color Odyssey follows Amos’s deepening critical investigation into the centrality of race and gender to the values of Western art, notably though the making of massive multimedia works that interrogate the power and authority of the artist. The Philadelphia presentation of the exhibition will give emphasis to the ways in which these thematic and political concerns pushed Amos to experiment widely with materials and techniques, particularly in print.

Highlights among the early works include the painting Godzilla, 1966 (Munson Williams Proctor Institute of Art) which features three front-facing seated women, one of whom is nude, another is seen clothed, and a middle figure appears faceless. Each figure is depicted with brownish limbs of various skin tones while the overall composition offers a rich arrangement of gestural forms placed in combination with flat, unmodulated swathes of contrasting color. The artist returns to the theme of the female trinity in 3 Ladies, 1970 (Philadelphia Museum of Art), a color etching, printed relief, and screen print in which lyrical gestural elements have given way to a sharp juxtaposition of graphic shapes that convey the artist’s virtuosity. This experimental, five-part composition underscores her ongoing pre-occupation with femme-centric themes. Among the notable works of the artist’s later production is Tightrope, 1994 (Minneapolis Institute of Art) which illustrates, in bold acrylic colors on linen with African textile borders, the monumental struggles Amos faced as an artist without the privileges afforded to white masculinity. In this monumental narrative self-portrait, Amos resolutely strides across a tightrope while donning a Wonder Woman costume that is only partially concealed under an artist’s smock. In one hand, she indignantly raises a T shirt emblazoned with an image of the naked torso of Gauguin’s Tahitian child bride while in the other she confidently wields a pair of paint brushes against a night sky.

Emma Amos Retrospective PMA
“All I know of Wonder,” 2008, by Emma Amos. Oil on canvas with African fabric borders, 70 1/2 × 55 1/2 inches. Collection of Mary Ryan, Courtesy of Ryan Lee Gallery, New York.

The organizing curator for Emma Amos: Color Odyssey is Dr. Shawnya L. Harris, Larry D. and Brenda A. Thompson Curator of African American and African Diasporic Art at the Georgia Museum of Art. “Coming of age during the countercultural movements of the 1960s and straddling various artistic movements from abstract expressionism to pop art, Amos reckoned with issues of race, class, and gender roles that emerged in the development of her style,” Dr. Harris said. “Her imaginative and sometimes satirical take on cultural difference shifted and grew richer over the decades, merging various media and blurring categories of fine and applied arts as a form of resistance.”

At the Philadelphia Museum of Art, the exhibition is curated by Laurel Garber, the Park Family Assistant Curator of Prints and Drawings, with the assistance of Theresa A. Cunningham, Margaret R. Mainwaring Curatorial Fellow. Garber, who wrote the catalog’s essay on Amos’s prints, added: “The sweep of Amos’s career opens a window onto an artistic practice that is guided by a rich creative and political engagement in American life. Her work is at once approachable and challenging, inviting reflections on identity, beauty, and femininity. Throughout her career, Amos worked in a wide range of printmaking techniques, including intaglio, screen print, monotype, and collagraphy, and we will show the broad range of innovative editions, monoprints, and other printed works on paper so that visitors can fully appreciate the interconnectedness of her vision across media.”

Catalogue

Emma Amos: Color Odyssey is accompanied by a major scholarly volume of the same title, edited by Dr. Shawnya L. Harris, and published in hardback by the Georgia Museum of Art (ISBN: 9780915977468). This catalogue includes an introductory essay by Dr. Harris and contributions by the artists Kay Walkingstick and LaToya Ruby Frazier, each of whom offers a personal reflection on Amos. Lisa Farrington, Associate Dean for Fine Arts, Howard University, discusses Amos’s place in the history of women artists. Phoebe Wolfskill, Associate Professor of African American and African Diaspora Studies, Indiana University, Bloomington, focuses on the performativity of race and gender in Amos’ work. Laurel Garber explores the artist’s career-long printmaking practice and her collaborations with master printers. The book is available at the Philadelphia Museum of Art Store and may be purchased on site or online via Philamuseum.org.

About Emma Amos

Emma Veoria Amos was born in 1937 in Atlanta, Georgia. Her family owned a drug store established by her father and grandfather, the first Black pharmacist in the state. She attended Antioch College in Ohio, graduating in 1958 with a degree in fine art before moving to London where she earned a diploma in etching at the Central School of Art in the next year. Arriving in New York in 1960, she joined Spiral, the artist activist group which included Romare Bearden, Hale Woodruff, Norman Lewis, and Charles Alston. In 1965, she earned her master’s degree in education from New York University and later taught at the Dalton School in New York. She also held positions as a textile designer and served briefly as a host of a television show about craft. Amos was an important member of Heresies, a feminist magazine founded in 1976 by Joyce Kozloff, Miriam Shapiro, Lucy Lippard, and others. As a member of the Guerilla Girls, Amos protested art world injustices including the unequal representation of women in the arts. In 1980, she began a teaching at Rutgers University, where she would become Professor and Chair of Visual Arts at the Mason Gross School of Art. She retired from Rutgers in 2008. The artist moved in 2019 to Bedford, NH in 2019 where she died the following year. Emma Amos: Color Odyssey premiered in January 2021 at the Georgia Museum of Art and traveled to the Munson Williams Proctor Institute in Utica, NY (through September 12, 2021) before its final stop at the Philadelphia Museum of Art.

Support

The exhibition is organized by the Georgia Museum of Art, University of Georgia. This program is supported in part by the National Endowment for the Arts and the Willson Center for Humanities and Arts, University of Georgia. At the Georgia Museum of Art, additional support was provided by the W. Newton Morris Foundation and the Friends of the Georgia Museum of Art.

In Philadelphia, Emma Amos: Color Odyssey is made possible by the Kathleen C. and John J. F. Sherrerd Fund for Exhibitions, the Lenore G. Tawney Foundation, and Emily and Mike Cavanagh.

Credits as of July 19, 2021.

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Pandemic

Kassem Amoudi is a Palestinian Jordanian American artist who came to the US in 1983. He got his MFA from the Pennsylvania Academy of the Fine Arts and now teaches there. The first time I remember seeing one of his paintings was at the Woodmere Art Museum. Like a philosopher Kassem thinks in terms of dualities, pairs of things that complement one another. He told me about one of the greatest of these pairings. – John Thornton, arts videographer

Artists in the Time of Pandemic, Kassem Amoudi

One of the paintings I will show at Cerulean Arts Gallery from the Stripes series. It is a 48×48 Acrylic. The show starts May 5th with social distancing and masks. The opening will be a Virtual tour and talk on Saturday the 8th at 2 pm. You can register for it at the gallery website when they add it. It hasn’t been posted yet because there is another show right now. — Kassem Amoudi

Cerulean Arts Collective, Kassem Amoudi

Cerulean Arts Collective

I will be One of the panelists at this webinar at Woodmere Art Museum May 6th at 7.
Please click the link to register.
Closing Reception (virtual): Group ’55 and Midcentury Abstraction in Philadelphia
Presenters: Bill Valerio, Woodmere Director & CEO; Patricia Stark Feinstein, Curator of the Samuel L. Feinstein Trust; Barbara Wolanin, PhD, Curator of the Group ‘55 exhibition; Kassem Amoudi, Artist
Join Woodmere in celebrating the art and artists of the Group ‘55 exhibition through an online closing reception. The online program will feature a new film on the exhibition, along with a conversation between Bill Valerio; Patricia Stark Feinstein; Barbara Wolanin, PhD; and Kassem Amoudi. Group ‘55 and Midcentury Abstraction in Philadelphia is on view through Sunday, May 9.
This event will be held online via Zoom, and registration is required. Participants will receive event information via email upon registration.
Free | 7pm | Click here to register.
https://zoom.us/webinar/register/WN_aCKZqyA-R-WFIqoOgyrUEQ

Kassem Amoudi, Cerulean Arts Collective

Thank you to Kassem Amoudi and John Thornton for the content of this post.

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mOTHER

Sarah Detweiler: mOTHER

A solo exhibition by Sarah Detweiler, presented by Paradigm Gallery.

April 23 – May 22, 2021


Sarah Detweiler, Life of the Party, Oil on Canvas, 16”w x 20”h 
(oval canvas with beveled edge)

Paradigm Gallery is pleased to present mOTHER, a solo exhibition by figurative painter Sarah Detweiler. mOTHER features 12 new vibrantly haunting works from Detweiler’s ongoing series, Hidden Mother, which adeptly subverts the portrait form and instead, focuses on a woman’s self-imposed perceptions and expectations that a mother attaches to their identity. Her evocative paintings use concealment as a way to reveal deeper truths. mOTHER marks Detweiler’s first solo exhibition at Paradigm Gallery and will be on view* from April 23 – May 22, 2021 with a virtual opening on Friday, April 23 at 5:30PM, RSVP is required: 

https://www.eventbrite.com/e/sarah-detweilers-mother-opening-and-live-qa-tickets-1505768303 53

The Hidden Mother series was inspired by a trend in Victorian portrait photography in which mothers concealed themselves in fabric while they held their children still for long exposure photographs. Detweiler’s images remove the children, showing only the women covered and posed alone within each frame. In this way, they are both hyper visible and hidden. While the artist used herself as the model for previous works, her new collection turns her gaze toward other women, thus expanding the view of motherhood as both a connective thread and as an experience that is unique to each individual. 

Though the series has been ongoing since January 2020, mOTHER marks the first body of works where Detweiler collaboratively created the pieces with her subjects. Detweiler worked closely with her subjects to best tell their stories, intuitively translating their experiences and feelings onto the canvas. By personalizing her paintings to her subjects’ stories, their life experiences shine through the patterns and colors of the work, even as their faces are obscured. Though Detweiler knows her subjects personally, in maintaining the anonymity of her subjects, she preserves a universal relatability — the woman under the shroud could be you, your mother, your friend. 

Sarah Detweiler: mOTHER, The Night Owl

The paintings in mOTHER include hand-stitched embroidered elements that add texture and dimension, while alluding to a craftwork traditionally associated with femininity. The stitching is often only noticeable upon closer inspection, reinforcing the significance of that which is hidden in plain sight. The resulting images in this exhibition are deep, vibrant, and fantastical. They express their subjects’ ambivalence, acceptance, and embrace towards their changing roles as mothers, all while celebrating the true multiplicity of their identities. 

Detweiler opens the conversation around transformation and identity, honoring each woman’s existence beyond motherhood. Her powerful images are both eerie and whimsical, cathartic and hopeful. Though the subjects are hidden on a superficial level, the coverage actually allows the artist to see more deeply, revealing them in new and beautiful light. 

*Due to COVID-19, ”mOTHER” 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 Sarah Detweiler 

Sarah Detweiler is a Philadelphia area-based, mixed media painter. Her experiences as a woman and mother are explored through figurative narratives created with a combination of embroidery with oil, acrylic, gouache, and watercolor.

Sarah has a BFA from the University of Delaware in Visual Communications and a Masters in Art Therapy from Pratt Institute in Brooklyn, NY. She has exhibited in group and solo shows in various locations including New York City, Brooklyn, New Jersey, Los Angeles, San Francisco, Dallas, Chester County, PA and Philadelphia. Sarah has been featured by The Jealous Curator, Create Magazine, Making Art Films, and Thrive Art Studio. Her work has been published in Uppercase Magazine and Create Magazine. 

Sarah’s art centers around themes of fertility, motherhood, female empowerment, and the human experience. 

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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Ebb

Ebb & Flow, Sarah R. Bloom and Rosalind Bloom at Da Vinci Art Alliance

Ebb and Flow

Ebb & Flow, Sarah R. Bloom and Rosalind Bloom at Da Vinci Art Alliance

Nature reclaims what is hers. Whether by destructive or creative measures, nature repurposes. In the two-woman exhibition, Ebb & Flow, abandoned spaces become renewing entities and collage landscapes become sites of infinite possibilities. Through photographs and mixed media collages, Ebb & Flow celebrates nature’s force and vitality. Sarah R. Bloom’s excursions to abandoned spaces capture growth among the rubble and hope amidst the decay of manmade structures.

Sarah Bloom, How Am I Not Myself?

By exploring these places and staging her photographs, Sarah R. Bloom  forms a sense of kinship with the space and captures the comforting process of the earth reclaiming what is hers. Her photographs form a bridge to Rosalind Bloom’s work which presents natural elements abstracted into beautiful collages, the very work a repurposing of the old. Rosalind Bloom’s  mixed-media collages of nature acknowledge and celebrate nature’s force, its antic energy, and its mystery. She restructures and reclaims the boundaries of the image, while demonstrating the inevitability of the earth reclaiming her space. Ebb & Flow reminds us that we are all here temporarily, and that nature will always prevail.

Rosalind Bloom, A Lovely Day in the Garden

Ebb & Flow will be on view physically by-appointment February 18th – March 7th 2021 at Da Vinci Art Alliance and as a recorded video tour on the Da Vinci Art Alliance website.”  

Sarah and I will have the opportunity to speak about the work during the Zoom session. We hope you can join us! Roz

Rosalind Bloom
collage and mixed media artist610-420-1733https://rosalindbloom.net
IG@rosalind.bloom
https://davinciartalliance.org/
https://inliquid.org/artist/bloom-rosalind/
https://www.wcaphiladelphia.org

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DoNArTNeWs – celebrating twelve years reporting on Philadelphia artists and art.

Kuerners

Kuerners Farm

Dear Artists,
I am so happy to announce that we plan to resume programs at Kuerner Farm beginning in July with a few minor changes made to ensure everyone’s safety. Plein air and photography opportunities will begin this summer, and classes with Karl J. Kuerner will resume in mid-September. Please see links below for information and to register.


“Evening at Kuerners” Plein Air

Kuerner Farm Photography Evening

Kuerner Farm Plein Air Days

Drawing & Painting with Karl J. Kuerner

As always, please feel free to contact me with any questions.

Laura Westmoreland

Associate Educator

Adult & Community Programs

Pronouns: she/her/hers

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DoNArTNeWs – celebrating twelve years reporting on Philadelphia artists and art.