Prime

Prime Time, Maureen, Maureen Gass-Brown, New Watercolors

Prime Time, Maureen Gass-Brown, New Watercolors,

Church St. Art & Craft

Join us for the month of April as we welcome spring with “Prime Time” a delightful floral watercolor exhibit by member artist, Maureen Gass-Brown.

An opening reception will be held on April 8th from 4:00 – 7:00pm. There will be a special discount on all unframed originals that will only be offered during the reception!

As always, artful refreshments will be served and everyone is welcome.

Church St. Art & Craft, 2 Church St., Mt. Holly, NJ in the Historic Mill Race Village of Shops,

609-261-8634

Prime Time, Maureen Gass-Brown, New Watercolors, Church St. Art & Craft

Church St. Art & Craft is an eclectic art space. We are a cooperative art gallery in the historic Mill Race Village in Mt. Holly, NJ. We are a custom frame shop, a place to gather and create art and a shop to purchase charming hand made gifts. In short, a wonderfully creative place to visit!

Like Church St. Art & Craft on facebook

SEO and Photoshop by DoN.

Like DoNArTNeWs Philadelphia Art News Blog on facebook

Follow the new DoNArTNeWs.com

Follow DoN on Twitter @DoNNieBeat58

DoN Brewer on Pinterest

@donniebeat on Instagram

Affiliate Marketing [disclosure page] Shop on-line and help support DoNArTNeWs

Picket

“PICKET FENCES” BY TEXTUAL ARTIST GERARD SILVA

ART GALLERY AT WILLIAM WAY LGBT CENTER DEBUTS

“PICKET FENCES” BY TEXTUAL ARTIST GERARD SILVA

Solo Exhibition  Features 26 Works on Paper through April 28, 2017

Picket Fences,” a solo exhibition by textual artist Gerard Silva, made its debut at the Art Gallery at the William Way Center on March 10 and runs through April 28, 2017.

Each of the exhibition’s 26 works on paper has been hand-printed by Silva and culled from a larger group in his “Picket Fences” series, serving a symbol of the way we choose what parts of ourselves to present to a society that makes judgements of approval or disapproval, of acceptance or rejection. While Silva strives for perfection, the hand-printing process produces slight variations that he can’t help but leave for the viewer to pass their judgements on.

“These screen prints relate to our daily lives in which we strive for acceptance; we are selective and we seek some kind of perfection in ourselves and in others,” Silva explains. “And it is this search for perfection in the many roles we all play that leads to insecurities that we have a difficult time admitting to or sharing with someone: insecurities that I’m acknowledging here.  But ultimately, I am who I am.  We are who we are.”

This project originated from the artist’s own frustrations and discouragement while working in his studio, often resulting in insecurities and self-doubt that spilled over into the many other roles in his life: a son, a friend, a gay man, a minority, a citizen, an outcast, a non-white, a non-black, a punk, a skeptic, a sinner, a foreigner, an American.

When pondering how he measures up, Silva’s collective work asks, “Is there a perfect state of being out there? Is the grass greener on the other side? Where is my white picket fence?”

Silva is a Philadelphia-based artist who has studied in New York, London and Arizona. His work has been shown in the Meyerson Gallery at the University of Pennsylvania, at the Kingston Gallery in Boston, at the San Diego Art Institute and at the Museo de Arte Contemporáneo de Puerto Rico. He was also included twice in the Arizona Biennial.

The William Way Center is open Monday through Friday from 11:00am -10:00pm and on Saturdays and Sundays from 12:00pm – 5:00pm.  Admission to the main floor gallery is free.

The William Way LGBT Center is located at: 1315 Spruce Street, Philadelphia, PA 19107

215-732-2220

PICKET FENCES” is showing the following 15” x 22” works on paper:

PERFECT

WHITE

LATINO

PRETTY

PHONY

LUCKY

ESTABLISHED

PREEMINENT

COMMERCIAL

IMPORTANT

RICH

PROMISCUOUS

OLD

EMERGING

POOR

SERIOUS

WILD

BLACK

YOUNG

MAN

FABULOUS

QUEER

FUCKED-UP

BUTCH

CONNECTED

ANGRY

Thank you to Jolyn for the content of this post.

Like William Way LGBT Community Center on facebook

SEO and Photoshop by DoN.

Like DoNArTNeWs Philadelphia Art News Blog on facebook

Follow the new DoNArTNeWs.com

Follow DoN on Twitter @DoNNieBeat58

DoN Brewer on Pinterest

@donniebeat on Instagram

Affiliate Marketing [disclosure page] Shop on-line and help support DoNArTNeWs

Food

How Food Moves: Edible LogisticsImage: Amber Art and Design, Corner Store Project

How Food Moves: Edible Logistics

Amber Art & Design / Ryan Griffis & Sarah Ross
Brian Holmes / Otabenga Jones & Associates / Cynthia Main
Claire PentecostPhilly Stake / Stephanie Rothenberg
Candice Smith with Freedom Arts / Kristen Neville Taylor

Daniel Tucker, Guest Curator, Graduate Program Director in Social and Studio Practices at Moore College of Art and Design
March 27 – May 27, 2017
Public Program and Reception: Thursday, March 30, 2017, 6:00 – 8:30pm
Our public program begins at 6:00 pm followed by the reception
Rowan University Art Gallery, 301 High Street West, First Floor, Glassboro, NJ 08028
Admission to the gallery and reception is free and open to the public.
The public program begins at 6:00 pm, led by guest curator Daniel Tucker in dialogue on art, geography, and agricultural planning with Professor Megan Bucknum Ferrigno from Rowan University’s School of Geography and Environment, and with exhibiting artists.

Artists explore the US food supply chain and its complex patterns of distribution in between the point of origin (the farm) and its point of consumption (the plate). The exhibition aims to highlight the work of contemporary artists grappling with the complexity of this movement through multi-media, research-based, and participatory practices that focus a lens on the social and industrial impacts of migrant workers, food justice movements, immigration, multiculturalism, and economic disparities. This project builds upon Tucker’s event series, Moving Units: Where Food & Economy Converge. A companion booklet, produced by Rowan University Art Gallery, serves to provide a general overview of US food supply chains. It includes descriptions of the artist contributions to the exhibition that relate to each step on the chain. Throughout this booklet you read about an approach to geographic education that values connecting with the world outside the classroom. The booklet was researched and written by Megan Bucknum Ferrigno, part-time faculty member of Rowan University’s Department of Geography, Planning and Sustainability. Additional contributions made by Dr. Chuck McGlynn, Dr. Jennifer Kitson and Makenzie Franco.

About the Artists and Projects

With Corner Store, Amber Art & Design – a team of Philadelphia-based artists that work on public art within marginalized communities that have little or no access to art – explores the contemporary sociological and psychological intersection between pan-ethnic Black and Asian communities in Philadelphia and how relationships are shaped based on which side of the counter we stand. (image top)

Illinois-based artists Ryan Griffis and Sarah Ross are represented by Between the Bottomlands and the World, a video (combining photographs, narrative writing, and moving images) exploring the rural Midwestern town of Beardstown, IL, a place of global exchange and international mobility, inscribed by post-NAFTA (North American Free Trade Agreement) realities.

Brian Holmes, an art and cultural critic with a Ph.D. in Romance Languages has a long-standing interest in neoliberal globalization and a taste for on-the-ground intervention. His online atlas, Living Rivers, is devoted to the Mississippi and Great Lakes watersheds and shows these fluid ecosystems as they are inhabited by a multitude of creatures and radically altered by human enterprise.

Otabenga Jones & Associates, a Houston-based educational art organization, documents a collaborative art project and public health program addressing the ongoing crisis of obesity and its related risks with “The People’s Plate.” Inspired by the Black Panther Free Breakfast for School Children Program, this art project includes a public mural in Houston and programs to kick off a year-long commitment to health education.

Cynthia Main, a multidisciplinary artist from Missouri focuses on relating to the land as part of an integral view of a more sustainable society. She shares her hand-made buckets and barrels created using traditional techniques to readdress storage as one of the current dilemmas of localizing production.

Chicago’s Claire Pentecost uses photography to show how industrial agriculture is only partly about supplying food and how it is structured to meet the problem of expense and excess capital accumulation when considering the cost of complex machinery, brand name chemical herbicides, pesticides, fungicides, fertilizers, and patented seeds.

How Food Moves: Edible Logistics

Philly Stake is a locally-sourced, recurring dinner that raises funds for creative and relevant community engaged projects that contributes to the well-being of Philadelphia’s neighborhoods through community arts, urban agriculture, social services, and activist work.

Stephanie Rothenberg’s Reversal of Fortune: The Garden of Virtual Kinship is a garden in the form of a global map that explores the question of what it means to be charitable through the click of a button and examines the cultural phenomena of online crowd-funded charity and how the flow of money impacts the project, positively and negatively.

How Food Moves: Edible LogisticsStephanie Rothenberg

Candice Smith runs Freedom Arts, an after school collaborative art program at Camden’s Freedom Prep Middle School, which is creating an installation responding to the idea that Camden is a “food desert” and examining the movement of food at their school and in their community.

Philadelphia-based Kristen Neville Taylor’s installation – a globe depicting routes of oranges and actual oranges outfitted with a QR code that links to music, articles, folk tales, and art – was inspired by a lyric from Leonard Cohen’s “Suzanne” (“and she feeds you tea and oranges that come all the way from China”) which she associated with the market place and the movement of food but also romance and exotic foreign cultures.

Admission to the gallery and reception is free and open to the public. 
Free parking is now available in the parking garage on Mick Drive directly across from the gallery. For visitor information go to our website: www.rowan.edu/artgallery.

Thank you to Mary Salvante, Rowan University Art Gallery for the content of this post.

Like Rowan University Art Gallery on facebook

SEO and Photoshop by DoN.

Like DoNArTNeWs Philadelphia Art News Blog on facebook

Follow the new DoNArTNeWs.com

Follow DoN on Twitter @DoNNieBeat58

DoN Brewer on Pinterest

@donniebeat on Instagram

Affiliate Marketing [disclosure page] Shop on-line and help support DoNArTNeWs

Phulkari

Phulkari: The Embroidered Textiles of Punjab, PMATota Bagh Phulkari, 20th century. Artist/maker unknown, Punjabi. Handspun cotton plain weave (khaddar) with silk and cotton embroidery in darning, buttonhole, and chain stitches, 7 feet 8 3/4 inches × 56 inches (235.6 × 142.2 cm). The Jill and Sheldon Bonovitz Phulkari Collection.

Phulkari: The Embroidered Textiles of Punjab
from the Jill and Sheldon Bonovitz Collection, 
Joan Spain Gallery, Perelman Building, Philadelphia Museum of Art

Phulkari: The Embroidered Textiles of Punjab from the Jill and Sheldon Bonovitz Collection

Through July 9, 2017

Phulkari, meaning “flower work” (phul = flower, kari = work), is an embroidery originally made throughout Punjab, a region now straddling Pakistan and India. Traditionally, the base cloth was locally handspun and handwoven cotton called khaddar. The thread, called pat, was unplied silk usually imported from China. The dominant embroidery stitch is the darning stitch (a straight stitch in parallel rows), although artists interspersed it with other stitches. Perhaps because of thread’s high cost, most pieces show embroidery only on one side of the cloth.

Phulkari: The Embroidered Textiles of PunjabSainchi Phulkari/Nilak Phulkari, 20th century. Artist/maker unknown, Punjabi. Handspun cotton plain weave (khaddar) with silk and cotton embroidery in darning, running, chain, and buttonhole stitches, glass mirrors, 7 feet 5 inches × 53 inches (226.1 × 134.6 cm). The Jill and Sheldon Bonovitz Phulkari Collection. (click for large image)

Phulkaris were a crucial part of a Punjabi woman’s material wealth. Young girls learned needlework from their older female relatives and friends. Often they made phulkaris for their own dowries, which they brought with them to their husbands’ home when they married. Primarily intended as large shawls worn draped over the head, phulkaris could also function as bedding or wall hangings for special functions. While each phulkari is unique, they may be grouped into types by designs and background colors with names such as thirma (white), sainchi (figurative), or bagh (garden).

Phulkari: The Embroidered Textiles of PunjabDarshan Dwar Phulkari, 20th century. Artist/maker unknown, Punjabi. Handspun, handwoven cotton plain weave (khaddar) with silk and cotton embroidery in darning, pattern darning, buttonhole, herringbone, running and Cretan stitches, 7 feet 5 inches × 50 inches (226.1 × 127 cm). The Jill and Sheldon Bonovitz Phulkari Collection. (click for large image)

Highlighted here are nineteen superb phulkaris from the Bonovitz Collection, promised gifts to the Philadelphia Museum of Art. All were probably created before the Partition of Pakistan and India in 1947.  Also included is a small selection of traditional phulkaris from the Museum’s permanent collection. The exhibition concludes with a creative twenty-first century reinvention of phulkari in the high fashion garments of Manish Malhotra, one of India’s leading designers.

Phulkari: The Embroidered Textiles of PunjabSainchi Phulkari, 20th century. Artist/maker unknown, Punjabi. Handspun cotton plain weave (khaddar) with silk, cotton, and wool embroidery in darning, pattern darning, buttonhole, herringbone, running, chain and Cretan stitches, 7 feet 5 1/2 inches × 48 1/2 inches (227.3 × 123.2 cm). The Jill and Sheldon Bonovitz Phulkari Collection. (click for large image)

This exhibition is made possible by Jill and Sheldon Bonovitz, The Coby Foundation, Ltd., and The Stella Kramrisch Indian and Himalayan Art Fund.

Phulkari: The Embroidered Textiles of PunjabBagh Phulkari, 20th century. Artist/maker unknown, Punjabi. Handspun cotton plain weave (khaddar) with silk embroidery in darning, pattern darning, running, chain and cross stitches, 8 feet 3 3/4 inches × 59 1/2 inches (253.4 × 151.1 cm). The Jill and Sheldon Bonovitz Phulkari Collection.

Phulkari: The Embroidered Textiles of PunjabPhulkari, 20th century. Artist/maker unknown, Punjabi. Handspun cotton plain weave (khaddar) with silk embroidery in running, darning, pattern darning, herringbone, split, stem and cross stitches, 9 feet 5 inches × 58 inches (287 × 147.3 cm). The Jill and Sheldon Bonovitz Phulkari Collection. (click for large image)

Phulkari: The Embroidered Textiles of PunjabPhulkari, Early 20th century. Artist/maker unknown, Punjabi. Handspun cotton plain weave (khaddar) with silk and cotton embroidery in darning, running, herringbone, and double running stitches, 8 feet 6 1/2 inches × 47 1/2 inches (260.4 × 120.7 cm). The Jill and Sheldon Bonovitz Phulkari Collection. (click for large image)

Phulkari: The Embroidered Textiles of PunjabThirma Phulkari, 19th century. Artist/maker unknown, Punjabi. Handspun, handwoven cotton plain weave (khaddar) with silk embroidery in darning, whip, and running stitches, 8 feet 5 inches × 58 inches (256.5 × 147.3 cm). The Jill and Sheldon Bonovitz Phulkari Collection.

Phulkari: The Embroidered Textiles of PunjabChope Phulkari, 20th century. Artist/maker unknown, Punjabi. Handspun cotton plain weave (khaddar) with silk embroidery in double running stitch, 9 feet 8 inches × 69 inches (294.6 × 175.3 cm). The Jill and Sheldon Bonovitz Phulkari Collection. (click for large image)

Phulkari: The Embroidered Textiles of PunjabSainchi Phulkari, Early 20th century. Artist/maker unknown, Punjabi. Handspun, handwoven plain weave (khaddar) with silk and cotton embroidery in darning and chain stitches, 8 feet 3 inches × 52 inches (251.5 × 132.1 cm). The Jill and Sheldon Bonovitz Phulkari Collection. (click for large image)

——————–

1947 to Today

When India gained independence from Great Britain in 1947, Punjab was divided—its western part in Pakistan and its eastern in India. The devastating results of Partition left many millions dead, injured, and displaced. Most families lost their heirloom phulkaris and few women had the time or facilities to embroider, apart from occasional commercial work. Over the past sixty years, Punjabis of all religions—Muslims, Hindus, Christians, and Sikhs (a faith whose holy sites are located in Punjab)—have emigrated throughout South Asia and around the world. Today they are the largest South Asian diaspora. Phulkari embroidery has retained enormous emotional and symbolic significance for all Punjabis and it has been reenvisioned in many ways.

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

Like The Philadelphia Museum of Art on facebook

SEO and Photoshop by DoN.

Like DoNArTNeWs Philadelphia Art News Blog on facebook

Follow the new DoNArTNeWs.com

Follow DoN on Twitter @DoNNieBeat58

DoN Brewer on Pinterest

@donniebeat on Instagram

Affiliate Marketing [disclosure page] Shop on-line and help support DoNArTNeWs

Steed

Clintel Steel, Fishtown Pop UpClintel Steed

Fishtown Pop Up Debuts with Exhibition by New York City Artist Clintel Steed

Marketplace in Philadelphia to Show Contemporary Work Along with Antique Paintings Philadelphia, PA: Fishtown Pop Up is a new gallery space in Philadelphia’s Fishtown neighborhood that will showcase the work of contemporary artists and present exhibitions of vintage and antique paintings. Heather Karlie Vieira, the founder of Heather Karlie Fine Art, 20th Century by HKFA and Modern Look Book created the Fishtown Pop Up gallery to offer permanent exhibition space for artists and dealers.

“The idea is really based on a marketplace”, says Heather, “where artists can offer their work, dealers can showcase their pieces and folks can gather to discuss and purchase art.”

The inaugural exhibition will feature the paintings of Clintel Steed in the show, “inventory, c. steed”. Clintel Steed, an American artist living and working in New York City, holds a BFA in Painting from the Art Institute of Chicago, an MFA from Indiana University and completed Advanced Studies at the New York Studio School of Drawing, Painting and Sculpture.

“My work is about being alive really. I am an African American male who was born in 1977. When you look at the history and the time I was born, a lot of things were happening.”

Raised in a devoutly Pentecostal Christian household in Utah, Clintel’s childhood centered around the church. This devotion features prominently in his work to this day as an exploration of moments, feelings, situations and experiences through art.

“The battle between good and evil, heaven and hell was preached all the time. This struggle is still within me, the lust for money and the battle for power.”

Clintel Steed Fishtown Pop UpClintel Steed

The exhibition, “inventory, c. steed” will examine his body of work.

Clintel describes this as “An inventory is your past and present leading into your own future. And we are living in a jumbled up chaotic time that is lacking consistency. This exhibition offers glimpses and moments of my life, a catalogue of my brain and my emotions.”

In addition to contemporary art, Fishtown Pop Up will also offer the venue to antique dealers as a fresh approach to selling works of art. Dealers will be encouraged to create exhibitions that are thematic in nature. An antique dealer by trade, Heather wanted to create a venue to sell art that appreciated the past and looked to the future.

Fishtown Pop Up will be a go to resource for the community, whether they are homeowners, interior designers, gallerists or art enthusiasts – the space will showcase fresh works of art every month by either contemporary artists or offered by dealers”, says Heather, “and everyone is welcome to attend, shop, learn and collect.”

Clintel Steed, Fishtown Pop UpClintel Steed

Fishtown Pop Up is located at 1311 Frankford Avenue Philadelphia, PA 19125. Opening night reception is Friday, April 7th, 6 to 9 pm. The exhibition will be open 1 to 7 pm April 8th to 16th and through the rest of the month by appointment.

Thank you to Heather Karlie Vieira for the content of this post.

SEO and Photoshop by DoN.

Like DoNArTNeWs Philadelphia Art News Blog on facebook

Follow the new DoNArTNeWs.com

Follow DoN on Twitter @DoNNieBeat58

DoN Brewer on Pinterest

@donniebeat on Instagram

Affiliate Marketing [disclosure page] Shop on-line and help support DoNArTNeWs