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About admin1

DoN Brewer is a Philadelphia based multimedia designer including blogging, web design, video production, photography, drawing, painting, writing, sound design, affiliate marketing and promotion. DoN graduated from University of the Arts, Philadelphia, PA, 2002, Bachelor of Fine Arts, Multimedia and Communications.

Tronies: Michelle Post at Da Vinci Art Alliance

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Tronies: Michelle Post at Da Vinci Art Allianc

Michelle Post‘s show of carvings are unusual and beautiful, they look like cast sculptures but they are actually carved from styrofoam. The illusion of heaviness is ironic because of the texture on the outside. Some people think the busts are made from paper mache, the plinths are actually blocks of styrofoam. When the artist grabs a head to show the plinth it’s startling because they look so heavy but are as light as air. Michelle Post explained, “They’re in banged up beat up condition when I get them because they’re cast offs. And they can be in pretty deplorable shape. Gouges and hunks missing out of it but I like that. And I incorporate it into the piece.”

The sense of authenticity is uncanny. “Styrofoam is not normally a sculptural material, it is in the trade, however. Especially for enlargements like the MGM Grand lions out in Las Vegas. They’re cut in styrofoam and coated with material that’s very hard. The cost to have had those cast would have just been astronomical. There are companies now who take your maquette or your sculpture they scan it into a computer and then they have machines cut it out of a large block of foam. Now, you can do a lot of things with it afterward, you can mold it and cast it in bronze or aluminum or whatever or you can actually use the styrofoam.”

Tronies: Michelle Post at Da Vinci Art Alliance

“For me, I work into the foam directly but it can’t go outside right now. So, these ten pieces here, the heads, are the commission for the Grounds for Sculpture. It’s so great. It kind of grew from eight heads to ten heads. The Sculpture Foundation commissioned it, it’s going to be a permanent installation at the Grounds for Sculpture around the amphitheater. The amphitheater has all these stone seatings that go up this gentle incline and so these guys are going to flank all the stone seating. It’s like they’re watching what’s going on down in the amphitheater.”

“They will be cast in aluminum and painted in my style but not necessarily these colors because they’re going to be treated as a whole. All ten pieces are one piece. They’re just a little bigger than life size.” DoN asked how she was awarded the commission? “Well, that’s sort of a hard one because I’ve seen a lot of former atelier people that have commissions there so I said, ‘Hey, what about me?’ But, what I was doing before wasn’t good enough to be put outdoors. I actually met Mr. Johnson and showed him my work. I like showing him my work. And when he saw these, I had seven of these heads done, and he went just like, ‘Oh my God, this is exactly what I’m looking for!’ and I went, ‘No! Get out of here!'”

J. Seward Johnson II is the founder of Grounds for Sculpture near Trenton NJ, a large sculpture park and he is also a well known sculptor himself specializing in trompe l’oeil painted bronze statues. He said yes to Michelle Post‘s idea to fulfill his idea of contemporary sculpture of portrait busts without being antiquity style. “He calls the the Mucky Mucks with Bruno as the head Mucky Muck and all the others in a hierarchy.” The work will be installed at Grounds for Sculpture in late 2013 after being sent off to be cast. “This is starting to expand how I see these heads now that they’re being put into a narrative.”

Tronies: Michelle Post at Da Vinci Art Alliance

Sculptor Michelle Post explained to DoNArTNeWs the concept of her new work Post Industrial, a mixed media sculpture of a goat pulling a cart with a man, a woman and a blue dog. “The cart is actually a real cart, an antique back from the turn of the century (20th) and the goat is actually reminiscent of that time period. They did have goat carts. They would hook up the goat, put the kids in there because the kids were too tiny to do horse and buggy, so the goat was perfect. This piece came about because my husband says,’Michelle you’ve got that cart. You better do something with it.'”

“The heads were the perfect thing, I just piled a bunch of heads in there and do a goat which now is something different I’m bringing to these pieces. Before it would be just the heads. And the plinths which would be the bodies; the plinths become part of the sculpture so it’s not a pedestal piece. With the goat even the base becomes it’s little foot, if you will. The goat set a whole new set of things to figure out. I’m used to going vertical and goats are horizontal. With legs you can’t just put a big old body down, a plinth, and have it represent the body because, well, it’s different.”

Tronies: Michelle Post at Da Vinci Art Alliance

Referring to the busts Michelle is known for she explains, “These guys are done all in one shot and I’ll work on ten to twelve pieces at one time.” You should know the artist has a magnificent octogonal shaped studio on her property near Millville, NJ big enough to build the heroic sized sculptures. “And about ten of them will turn out OK, there’s going to be a couple that are rejects, it just happens that way. And when Post Industrial came around I thought to myself, ‘OK. I’m bringing in something else.’ I do the stand alone pieces but now it’s time to do something different. With the busts they actually get named afterwards, when I’m carving it’s what comes out.”

DoN noticed that there was more of a narrative than just the personality of the busts; the sculpture reminds him of William Faulkner’s book Light in August where the young girl travels in a cart across the country in search of the father of her unborn child. Michelle said, “My husband, Dave, makes up all sorts of stories about it like, ‘Why’s the dog riding in the cart? Shouldn’t he be running along side?’ And they all have names, this is Cuthbert J. Twillie. If you’re an old movie fan you will know who he is. Think of, ‘My Little Chickadee.’ This is Sadie Twillie in the back, she doesn’t like it back there and that is Blue. Blue Twillie. And the goat is Willie. Willie Twillie.”

Tronies: Michelle Post at Da Vinci Art Alliance ends this weekend, 10/28/2012 with a Halloween costume party in the gallery from 2:00 – 5:00pm. 704 Catharine Street, Philadelphia, PA 19147.

Written and Photographed by DoN Brewer

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Tronies: Michelle Post at Da Vinci Art Alliance is one of the last new stories for this blog, www.brewermultimedia.com, as a new improved format is developed with larger images and better search engine optimization. Thank you to all the fans of DoNArTNeWs Philadelphia Art News Blog for your continued support. Subscribe to the new DoNArTNeWs.com by e-mail: DoN@DoNBrewerMultimedia.com

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Shine: Rebecca Gilbert at 110 Church Gallery

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Shine: Rebecca Gilbert at 110 Church Gallery, Out of the Well, woodcut on Japanese paper

Have you ever experienced that magic moment with a work of art when it changes from one thing to another? Like when an abstract becomes a landscape, or a figure emerges from a mess of paint? Expect that to happen when you visit Shine: Rebecca Gilbert at 110 Church Gallery. What looks like a drawing is a woodcut, what looks 2D is 3D, what appears abstract actually has a distinct narrative. The gallery on Church Street in Old City presents the artist’s work sparely, each piece or grouping has plenty of elbow room yet the space is entirely activated by the artist’s conceptual prints. Out of the Well reads like an abstract drawing from across the room but when approached the distinct markings of gouged wood become apparent and the sense of looking down a deep well and not tree rings comes into view. Rebecca Gilbert‘s art always takes the viewer on a journey to a strange place with an odd sense of the familiar. Have you ever looked down a well? Or even seen a real well?

Shine: Rebecca Gilbert at 110 Church Gallery

The triptych above looks at first like a crumbled pediment then transmogrifies into a skateboard ramp over a dirt pile. The static work becomes action packed with the handiwork of kids setting up a dare-devil jump for bikes; the seemingly flat surface is actually layers of dimpled board built up thickly and hanging away from the wall. Again the sweet moment of change, a dual reality of simple forms switch from abstract to story-telling illustration. Remember these are prints, not drawings or paintings, and more sculptural than flat.

Shine: Rebecca Gilbert at 110 Church Gallery

Artist Dan Chow, like many others, moved up so close to the installation that a museum guard would drag you back. Thoughtfully, he covered his mouth so as not to breath onto the delicate surface to inspect the incredible detail and peek behind the sides to discover how the work floats away from the wall. Rebecca Gilbert told DoN she wanted to make a big Evil Knievle sized jump but settled for the fun sized kid version. But again, it’s the story of riding a bike really fast and making the jump over a dirt pile like an imaginary row of trucks on a Harley Fat Boy that creates action in the art.

Shine: Rebecca Gilbert at 110 Church Gallery

The trio of woodcuts in white frames is peaceful like sitting by a pond, the watery blue ripples out like the waves from a thrown pebble. Insect and plant forms linger near the edges. You can almost hear the breeze rustling leaves and croaking frogs. Again, the images aren’t flat, layers of prints are built up in an elegant merging of amorphous shapes to delight the eye and bring wonderment to the mind.

Rebecca Gilbert is a CFEVA Fellow, her communications skills are awesome. She speaks with clarity and has stories to tell about each piece with explanations for the symbolism she incorporates in her art. And when you know the stories then the mark-making, line and color take on a richer quality saturated with colorful myths, amusing anecdotes and flights of fancy. Printmaking is a challenging art form requiring multiple skills such as drawing, sculpting and mechanical mastery, the show of prints, Shine: Rebecca Gilbert, will expand your mind and improve your knowledge of what a print can be in the age of mechanical reproduction.

Shine: Rebecca Gilbert at 110 Church Gallery

DoN had the pleasure of interviewing Rebecca Gilbert in her new studio on the second floor of Da Vinci Art Alliance in South Philly during Philadelphia Open Studio Tours 2012 and will post more information about her process and the many projects she is juggling while hammering, gouging and slicing away at a plank of wood, creating the reverse image of what you see in the final print. Amazing.

Written and Photographed by DoN Brewer

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Hiro Sakaguchi, Two Zero One Two at Seraphin Gallery

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Hiro Sakaguchi, Two Zero One Two at Seraphin Gallery

October 13th, 2012 artist Hiro Sakaguchi presented an artist talk to a crowd of art enthusiasts at Seraphin Gallery on Pine Street. DoN exerpted and transposed some of the lecture as best as he could.

“This photo was 2011, I think it’s after everything happened in Japan, the tsunami and everything. I had the chance to go to New Hampshire and had the chance to view this mountain. But for me I wasn’t thinking about the mountain, looking at the horizon line, like everybody else, when you have this kind of landscape in front of you. For me, I thought about the tsunami, the tragedy you know and I started thinking about it. So this is the feeling I got on the top of the mountain when I was thinking about my native country, I know what people are thinking about, it’s very meditative that way. This was the first thing I was thinking about and it starts from here. It’s how it started in my head, every artwork. ”

Hiro Sakaguchi, Two Zero One Two at Seraphin Gallery

“Let’s start with drawing here. This drawing is called Flower Happening and as you see, there’s an image of an airplane. I think because of the apocalypse thinking in my head, documentary movies about war, natural disasters type of movies, so, one movie showed airplanes carpet bombing in Germany, Japan, everywhere. So it’s kind of like I had this it occurred to me that this violent act, I wanted to make it to something positive. Somebody told me the other day, like 60s people put flowers into the barrel of guns, you know Make Peace Not War, so putting instead of bomb, I put flowers to make it peaceful. You can see underneath is actually the town where I came from. Chiba City, Japan. This is a drawing and then a painting. The drawing was different, conversation wise, was fast but the painting was next.”

Hiro Sakaguchi, Two Zero One Two at Seraphin Gallery

Table top battle field with toy soldiers whose guns are replaced with flowers, tanks made from thread spools and hills made from Art Forum magazines on a soccer field of fake grass. “I was thinking about this one when I was making it, first of all, as a kid I didn’t have the technique to do this, but if I was ten years old and I did this I would be so happy. But, it came back to me know that I can make a child’s toy on this battle field. And also a toy I kind of think represents society, how our society functions, how we always build a toy, you know? Kids love their toys. It’s a questioning of functional toys and our society. And also a question of human violence.”

“I just got a FaceBook advertisement for a video game saying, “Peace is Not An Option!”. It’s really a violent way we have these games, war as a game. It’s kind of interesting because we don’t have to do it in real life. I always kind of question those things. So this has three things going on here: the field is a soccer field, a game field and also a battle field. And like I said about the question of human violence, soccer is one of the most popular sports in the world but supposedly started from an eighth century England people started kicking someone’s skull. So, it’s a violent game. And yet as a child we crave something like that. Of course, this is artwork, so you’re questioning the function of art. See how thick this Art Forum is?”

Hiro Sakaguchi, Two Zero One Two at Seraphin Gallery

“I enjoy doing splashing, throwing paint, my technique is actually air rifle used to splash the paint. This one is similar, a picture of a battle ship, the idea is a 21st Century Noah’s Ark. So, it’s a lot of bad things have happened in the world, somehow I saw this World War II Japanese battle ship, so similar (to the drawing) I wanted to make something peaceful. So I take all the weapons out and change and added trees, a green roof, and also solar and wind power, and then far away you can see the big tsunami coming in. It’s like like combining a History Channel program with recent events. I think if you go to Japan or Europe, you’ll see these mangled concrete, to stop the force of the waves.”

Hiro Sakaguchi, Two Zero One Two at Seraphin Gallery

“These sculptures, I don’t know if you know this, this whole show is about Love and Peace. This is a toy from when I was a kid, this is a simple toy made from a spool, chop stick and candle. And when you wind it up it moves. And because of the cuts, it can climb over the landscape.”

Hiro Sakaguchi, Two Zero One Two at Seraphin Gallery

“This big painting first I started from that rapid drawing. I imagined one theory of how wars end, a kind of imagined myself, start from that one (the drawing) then expand to that one (the battle ship) to this one. It’s kind of three different stages of my thinking. You have to start from somewhere. For this painting I was thinking of a color field painting with the splash, kind of more of an abstraction. The painting started from a floor splash, paint and let dry, paint and let dry, then I out the drawing. So it is horizontal and vertical where it came together, a combination of drawing and painting.”

Hiro Sakaguchi, Two Zero One Two at Seraphin Gallery

“There is an animation by Takaji Matsudo, he made an animation about a space ship based on WWII battle ship and then in the future aliens attacking it, so people on earth decommissioned this battle ship and made it into a space ship…I never grew up drawing comics but for me I enjoyed history stories, but I thought now it’s kind of funny for me to make a comic image here, right now.”

Hiro Sakaguchi, Two Zero One Two at Seraphin Gallery

This last drawing combines the photograph of Hiro Sakaguchi on the mountain top staring at the moon surrounded by swirls made from another child’s toy, the Spirograph. Today is the last day for this inspiring show at Seraphin Gallery, so while you’re out visiting POST shows take some time to visit and remember your childhood.

Make Love, Not War 2012.

Written and Photographed by DoN Brewer

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Drawing Show at The Philadelphia Sketch Club

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Drawing Show at The Philadelphia Sketch Club, Catharine Mulligan, Untitled, acrylic with chalk and gouache on paper

A Drawing Show of Artists in Philadelphia Selected by Alex Kanevsky and Bill Scott at The Philadelphia Sketch Club is an inspiring collection of drawings which stretches the imagination and boundaries of what one thinks of as drawings. From traditional pencil and charcoal drawings to abstract mixed media like gouache, acrylic and house paint, the show is a carefully curated exhibit displaying the state of the art of drawing as considered by two of Philadelphia’s finest artists. Instead of a salon style exhibit with art packed from floor to ceiling, the show gives each piece of artwork room to breath and the viewer the opportunity to examine the work without others elbowing for attention. The historic gallery/studio looks like a room in a museum.

Drawing Show at The Philadelphia Sketch Club, Mary Page-Evans, Merci de K, charcoal, pastel and gouache on paper

DoNArTNeWs asked Alex Kanevsky about the process of assembling the collection for this extraordinary exhibition of diverse drawings. DoN said, “I know you know a lot of people.” Alex replied, “Well, Bill knows a lot more people than I do. The process was simple. We went to a coffee house, we sat down and tried to write a list of all the people who we know and liked. We figured since this is an educational show and did it because we wanted to see these people’s work in one place. We just invited everybody whose drawings spoke to us.”

Drawing Show at The Philadelphia Sketch Club, Richard Taransky, Bella Figura, charcoal and white pastel

Kanevsky continued, “And after that list, which initially was fairly limited, it kept on growing because every couple days after that meeting, I would call or Bill would call and say, ‘How about that person?’. And that’s pretty much how it happened.” DoN asked, “Did you do studio visits?” Alex said, “We did some studio visits. You know, this started with a presentation here about a year ago at The Sketch Club and we saw that it would be fun to do this show and we approached the president with the idea. But when it actually came down to organizing things I was away. I was away the whole summer, so I didn’t get to do many studio visits. I knew what people did and whoever I didn’t know Bill sent me the images over the internet. We did make some choices from the images because we knew what the work looked like in general.”

“These are people whose work we know and like. So it didn’t come out of the blue.” DoN asked about how Alex felt about the end result, he said, “I was so impressed. We were worried that it might look spotty or not very cohesive but once we hung it we were both really impressed with the level of the drawings. Some of the drawings here I just absolutely love them. There were some really good surprises, for example, Michael Rossman’s drawings, but I never met him. And I wanted to have those drawings herein the show because I had admired them for about ten years. Then there’s other drawings I like but I didn’t know what they would give us but never the less they are beautiful.”

We talked bout the influence of the internet and how images are flattened out because of screen resolution but Alex Kanevsky expressed his pleasure at the works when they arrived. He said, “There are some good surprises this way. Some of the work I didn’t know at all because they were one’s that Bill liked, but we kept each other in the loop. If I suggested something then I would send him images. It was a really interesting process. Every single drawing is something we are happy to have here.”

Drawing Show at The Philadelphia Sketch Club, Bill Scott, Copy of the Cherry Tree, drypoint on paper

DoNArTNeWs talked with co-curator Bill Scott about the collaboration, “I think Alex approached me once up here about doing a show. And then we mentioned it to Bill Patterson and he said, ‘Sure.’ Then we met because he was about to do the Woodmere show, long before, but the one conscious decision was not to overlap, to give a chance to the people that were not in the juried show. We tried to, well it might be a bit of a rub, but we tried to not just have the same show again.”

DoN asked how Bill Scott decided? Was it the most memorable images? “We both picked people and asked them to send us pictures. About half of them got back to us but in the end each one of us picked ones we liked.” DoN asked, “So you each got to pick some? Was there cooperation?” Bill said, “Yeah, we did it all through e-mail when he was away. It was a lot of work.” How did selecting images from the internet work out? “I really like juried shows but for this each of us, if not both of us knew the artists work. So, I knew what I was looking at. I knew what they were and a lot of them I saw in person. I did a few studio visits, Amanda Bush, Mary Page-Evans. Alex knew Richard Taransky. Doris Staffel, I like her. And John Nazarewycz, I love his work, I knew them. Eileen Goodman, I knew already. So, you know, there’s no point to it, it’s just pictures. We wanted to hang a spacious show so that everything would look important.”

Drawing Show at The Philadelphia Sketch Club, Skimantas Pipas, Progress, mixed media on paper

Bill Scott said, “I’ve seen a lot of shows that are so over hung that you might get a migraine headache so that you don’t want to be there. You have to soothe everybody’s ego because they’re in the show, I want people to feel good for having come to see it. To feel inspired for having been here. I’d rather have a show where I feel like I’ve actually been somewhere rather than, ‘Let’s get out of here.’ I’d rather leave wanting to see more.”

Drawing Show at The Philadelphia Sketch Club, Eileen Goodman, Peaches on a Dress, charcoal on paper

Drawing Show at The Philadelphia Sketch Club, Laura Velez, Follow, graphite on mylar

Drawing Show at The Philadelphia Sketch Club, Michael Cierve, Mirror, graphite on paper

Saturday, October 20th is The Philadelphia Sketch Club‘s annual fundraising gala called Out of the Past…Into the Future. Featuring fine wines and culinary specialties, the event celebrates America’s oldest artist run arts club with special guest reknowned photographer Zoe Strauss. Dress is creative cocktail, black tie or costume. For tickets contact 214 545 9298.

Written and Photographed by DoN Brewer

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Robert Bohne at Artists’ House Gallery

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Robert Bohne at Artists’ House Gallery

Painter, Robert Bohne has exhibited his oil paintings at Artists’ House Gallery in Old City, Philadelphia four times now. His collection of recent and quite exquisite plein air paintings is a subtle yet sublime interpretation of landscapes and still life subjects. Each of the paintings has an immediacy and atmospheric naturalism that identifies the artist’s painting style. The small scale oils are richly narrative with information design and skilled brushwork. The artist’s eye is apparent in each piece especially with technical virtuosity of color and depth of field, drawing the viewer deep into the landscape or experiencing the delightful wetness of an object with expert application of paint.

Robert Bohne at Artists’ House Gallery

Robert Bohne described the group of paintings above to DoNArTNeWs, “On this wall are some plein air work, one piece, the middle piece, of the fountain was done in Majorca Spain. The original sketch was done in Majorca and I transferred the sketch into an oil painting. The one above that is strictly out of my head, it’s a fictitious cloud, The one on the bottom is one of the piers on the Delaware River.”

“I’m always looking for the light in a painting, a good focal point, and after I find that it’s almost like a leading actor in a movie or a play, that focal point. And then after that I look for the supporting actors, which are less significant pieces of the painting, but, they lead your eye to that focal point.”

Robert Bohne at Artists’ House Gallery

DoN thought this lobster painting looked familiar? The artist explained, “This is not the same as the one at The Plastic Club, this is the second. Actually it’s the same lobster, it’s spent a couple of months in my freezer and it came back out again and re-emmeged in another painting.”

Like impressionist masters, Bohne knows to return to his subjects repeatedly to gain the sense of realism he desires with less and less detail but infinitely more important visual information.

Robert Bohne at Artists’ House Gallery

Robert Bohne at Artists’ House Gallery, photo courtesy of the artist

“This is a painting that sat around for close to a year, I wasn’t quite sure what I didn’t like about it. And then after looking at the George Bellows show just recently, I realized that what this painting needed were a couple of areas of really dramatic contrast. And it was just a matter of putting a small dot of orange and a small dot of white for highlight. And, of course, increasing the shadow area to the left of that and it made the painting pop. And it made it work”

The sense of realism yet obvious impressionism almost makes the plate of shrimp look abstract. The oil painting displays Robert Bohne‘s mastery of the medium and certainly is desirable as a work of art, at once decorative yet with a sense of narrative liveness. Working oil on board, oil on paper or academy board, each painting delights the senses with the artist’s appreciation of artistic appropriateness and style. One aspect of Robert Bohne‘s paintings is that they look really finished, professional and accessible. The paintings are not overwhelmed by a fancy frame instead complemented by surround offering a lovely collaboration of image and frame.

“Debbie West is my framer, West End Frame Shop, she’s in Media PA. Debbie and I spend a lot of time trying to find the frames that won’t overwhelm a painting. It will just become part of the painting. Presentation is a very important aspect of showing work. Presentation and editing. What I mean by editing, there’s a certain painting on the far end which was twice the size it is now. After looking at it for quite a while, I realized that if I cropped this painting in half it would be a much more dynamic composition. And would work much better. And so, this is what I ended up with and I was very pleased with that. I’m sure I’m not the first artist to do that.”, said Robert Bohne.

Robert Bohne at Artists’ House Gallery, photo courtesy of the artist

DoN asked the artist how he knows when a painting is finished? “I don’t know. I try not to have too much of a finished look to my paintings. I want that spontaneity to remain when the piece is finished. One of the things I really dislike is photo-realism, so I want people to see the abstract qualities and some of the spontaneity in my work. I want more of my work to have a degree of life, I want it to breathe. A good example of this is the Marigolds, this is a painting that won Best Still Life in The Philadelphia Sketch Club Small Oils show last year. As you can see, it’s not a lot of detail, very quickly painted, very spontaneous, and yet you know what it is and actually has a quality of life to it.”

Robert Bohne at Artists’ House Gallery, 57 North 2nd Street, Philadelphia, PA, through October 28th, 2012.

Written and Photographed by DoN Brewer

except where noted.

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