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In/Dwelling

In/Dwelling: Meditations on Built Environments as Cultural Narrative

The Galleries at Rowan presents

In/Dwelling: Meditations on Built Environments as Cultural Narrative
February 22 – April 14, 2016

Introducing our new location 301 High Street, Glassboro New Jersey

Artist’s talk and reception Thursday, February 25, 5 – 8 pm

Rowan University Art Gallery at High Street explores built environments, both external and internal, as emblems of a cultural past, present, and future with In/Dwelling: Meditations on Built Environments as Cultural Narrative. The exhibition is on display from February 22 to April 14, with an artist’s lecture and reception onFebruary 25 from 5:00 – 8:00 p.m.

We are compelled to imagine a time when architectural spaces and objects were new representations of manufacturing, design, and aesthetic tastes and trends. The urban / suburban motifs have time and again provided artists with the perfect vehicle in which to explore universal topics such as: the complexity of infrastructure, commerce, demographics, and identity as inspiration to create new work. In this exhibition the participating artists imbue architectural structures and domestic objects with interpretations of historical experiences, social customs, and emotional memories as a cultural narrative. Artists include Philadelphia based artists: Lewis Colburn, Ben Grasso, Kay Healy, Erin Murray, and Miriam Singer. Chicago based artist Ann Toebbe, and New York based artist Brian Tolle. A work by Louise Bourgeois is included courtesy of the gallery permanent collection.

The catalyst behind the framing of this exhibition concept was the print Femme Maison, 1984, by Louise Bourgeois from the gallery collection. Femme Maison, which means both “woman-house” and “house-wife,” is one of Louise Bourgeois’s most famous motifs. For the artist, who was raised in France, the home was closely connected to female identity. By combining residential architecture and the curvaceous female body, Bourgeois portrays a woman who is obscured and entrapped by the domestic realm that she simultaneously supports.

The selected artists for this exhibition approach domesticity, architecture, and everyday objects from singular and accumulative perspectives. Brian Tolle creates a cross-wiring of reality and fiction in his sculptures and installations and blurs the border between the contemporary and historical with recurring themes of architecture, site, and technology. Lewis Colburn, of Philadelphia, sees objects as unreliable tour guides. He investigates ways in which we re-interpret and re-tell the past through the filter of our current experience. Ben Grasso, of Brooklyn, NY, presents a re-imagining of what actually exists and recasts these things in new terms creating a re-alignment of logic that makes plastic the anxiety underlying objects in the world through his painting. Miriam Singer, looks perceptually at multiple locations in Philadelphia and expresses the fragmentation of a fictional city as a collage of noise, pattern, and density.

By recounting memories of unique, collective, or habitual memories these artists investigate identity and history through interior and exterior experiences. Kay Healy, a Philadelphia based artist, creates large-scale screen printed and stuffed fabric furniture based on other people’s descriptions of their childhood homes and investigates how we relate to objects and cope with the fact that there is no way to truly return home. Ann Toebbe, a Chicago based artist, creates meticulous paintings using reconstructed memory and multiple perspectives to depict domestic and architectural spaces in cut-out paper doll fashion. Erin Murray, of Philadelphia, relates to buildings and built forms as being understood to represent our physical body, our cultural history, our economic reality, and our long-formed habits.

Brian Tolle, from New York, offers a lecture on February 25. He has completed several public art installations in New York, including the Irish Hunger Memorial in New York City. He has exhibited around the world and his work is included in numerous museum collections. He holds a B.A. in Political Science from SUNY at Albany; a B.F.A. from Parsons the New School for Design, NY; and an M.F.A. from Yale University in New Haven, CT.

The lecture will be presented at Westby Hall Room 111 beginning at 5:00 p.m. A reception follows at 301 High Street in Glassboro at 6:00 p.m.

Shuttle vans will be provided for guests traveling from Westby Hall to High Street. Return service will not be provided, but High Street is only a 15-minute walk away. Free public parking is available on High Street and neighboring streets. Municipal parking areas are available off Lake Street (behind Little Beefs Deli) and near the Barnes and Noble shopping complex between New Street and Rowan Blvd.

In/Dwelling: Meditations on Built Environments as Cultural NarrativeImages: top, Brian Tolle, Outgrown, platinum silicon rubber, toys. Courtesy the artist and CRG gallery. Bottom: Ann Toebbe, Jim’s Apartment, paper, gouache and pencil on panel.

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

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Beehive

Inside the Bloody Beehive with Artist Judith Schaechter

Video by John Thornton Films

“The first time I ever heard of artist Judith Schaechter was sometime back in the early 1980’s when we were both in a group show at Philadelphia’s Art Alliance. She had  this small unassuming painting that I have never forgotten. Judith stopped painting and went on to excel in another medium, stained glass, and on October 17th, 2015 I went back to the Philadelphia Art Alliance to see a dazzling display of her work. Later, I spent an afternoon at Judith’s home and studio. I believe that this funny, brilliant woman is one of the world’s greatest living artists.” – John Thornton

“It seems my work is centered on the idea of transforming the wretched into the beautiful in theme as well as design. For me, this means taking what is typically negative — say, unspeakable grief, unbearable sentimentality, or nerve-wracking ambivalence, and representing it in such a way that it is inviting and safe to contemplate and captivating to observe (to avoid ending with preposition). I am at one with those who believe art is a way of feeling one’s feelings in a deeper, more poignant way.” – Judith Schaechter excerpt artist statement

Judith Schaechter’s work is gut-wrenchingly beautiful. “Beauty” says the artist, “is considered the most horrible crime you can commit in the modern art world. People are suspicious of anything that makes them feel as though they may lose control. Beauty forces you to confront your helplessness as well as your dark side. My work is not intended to make comfortable people unhappy, although it may make unhappy people comfortable.” – University of the Arts faculty

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Philazilla

VISIT PHILADELPHIA’s fun, over-the-top commercial honors the city’s beloved icons while showing off the many other enjoyments that make Philadelphia such a popular place to visit and stay overnight. In these two scenes, a larger-than-life Benjamin Franklin makes his way through the city in preparation for a spat with a cheesesteak that’s just as eager for the spotlight as Ben. An outrageous tiff ensues, leaving a visitor asking, “What’s with them?,” and her taxi driver responding, “Oh those two. They’re always fighting for attention.” The tongue-in-cheek spot ends with the tagline: There’s more to a legendary city than its legends.

Visit Philadelphia, Philazilla

Credit: Photo courtesy of VISIT PHILADELPHIA®

PHILADELPHIA, January 26, 2016 – VISIT PHILADELPHIA® debuted a new television commercial today—a fun, over-the-top spot that honors the city’s beloved icons while showing off the many other enjoyments that make Philadelphia such a popular place to visit and stay overnight. Created in partnership with Red Tettemer O’Connell + Partners, the commercial is part of the destination marketing organization’s With Love, Philadelphia XOXO® campaign and the first VISIT PHILADELPHIA spot to air on television since 2011. It is viewable at visitphilly.com/philazillas.

“Cheesesteaks and history are legendary in Philadelphia, and deservedly so,” said Meryl Levitz, president and CEO, VISIT PHILADELPHIA. “But we want people to realize that there’s a lot more to this city, and it’s all deserving of attention: the waterfronts, the parks, the restaurants, the bars, the culture, the walkability. Our new commercial shows off these wonders, and every one of them is a great reason to visit Philadelphia. You’ll definitely need more than a day to get it all in though.”

The Concept & Strategy Behind It:

In the spot entitled “Philazillas,” a larger-than-life Benjamin Franklin and a just-as-big cheesesteak vie for the spotlight during an outrageous tiff that leaves a visitor asking, “What’s with them?,” and her taxi driver responding, “Oh those two. They’re always fighting for attention.” The tongue-in-cheek spot ends with the tagline: There’s more to a legendary city than its legends.

Research commissioned by VISIT PHILADELPHIA in 2015 found that while most leisure travelers acknowledged Philadelphia’s iconic sites, they seek fun and authentic experiences, restaurants, nightlife, art and walkability for urban destination getaways. That’s why “Philazillas” shows off the many city features that compel travelers to visit.

“The challenge in developing a spot that broadens people’s perspectives about what makes Philly great was having a bit of fun with the two things the city is most famous for—cheesesteaks and history,” said Steve Red, president and chief creative officer, Red Tettemer O’Connell + Partners. “But at the same time, it was important to acknowledge their legendary status and importance to the city.”

Why Now?:

Philadelphia has hit records and milestones in recent years, with 39.7 million total visitors in 2014 and 77% occupancy at Center City hotels and an historic visit from Pope Francis in 2015. To keep this momentum going, it’s important for Philadelphia to stay top of mind for people making decisions about their next vacation or even contemplating a new location for their home or business. That means getting the Philadelphia message out to them on all possible platforms, including on TVs and digital screens.

The Media Buy:

Video consumption across many platforms is at an all-time high, and it’s imperative for VISIT PHILADELPHIA to reach consumers in these spaces. The destination-marketing organization secured a Commonwealth of Pennsylvania Department of Community and Economic Development grant to promote visitation to Philadelphia through video on screens of all sorts—TV, desktop, mobile and tablet devices—in 2016. This multi-screen grant helps extend the messaging of the With Love campaign to a wider audience.

There are three versions of the commercial: 60 seconds, 30 seconds and 15 seconds. The 60-second version tells the most robust story, and that iteration will appear online and on VISIT PHILADELPHIA’s websites and social media properties. Due to a limited budget, the shorter versions will run on television and online as part of the paid advertising buy.

The “Philazillas” spot will complement VISIT PHILADELPHIA’s core media buy, which will feature creative on digital and out-of-home advertising in the New York and Philadelphia DMAs. The commercial will run on broadcast and cable networks in three flights: February 1-21, July 11-31 andSeptember 5-18, 2016. In addition, it will appear online through media distribution partners such as Lin Digital, TubeMogul, Facebook and YouTube.

VISIT PHILADELPHIA® makes Philadelphia and The Countryside® a premier destination through marketing and image building that increases the number of visitors, the number of nights they stay and the number of things they do in the five-county area.

On Greater Philadelphia’s official visitor website and blog, visitphilly.com and uwishunu.com, visitors can explore things to do, upcoming events, themed itineraries and hotel packages. Compelling photography and videos, interactive maps and detailed visitor information make the sites effective trip-planning tools. Along with Visit Philly social media channels, the online platforms communicate directly with consumers. Travelers can also call and stop into the Independence Visitor Center for additional information and tickets.

philly2

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HS

High School Art 2016, PSCYuliya Lyakhovolska, Glen Foerd, 2015 Winner of The Philadelphia Sketch Club Annual Philadelphia District High School Art Show

The Philadelphia Sketch Club Hosts the 32nd Annual Philadelphia School District High School Student Art Exhibition

The Philadelphia Sketch Club‘s Annual Philadelphia School District High School Student Art Exhibition February 1 – 28, 2016 in the Sketch Club’s historic main gallery located on 235 South Camac Street, the Avenue of the Artists, Philadelphia, 19147.

Included in the show will be over 100 works created by exceptionally talented Philadelphia School District high school artists in any media. Works are submitted by art teachers in the Philadelphia school district.

“The Philadelphia Sketch Club is the only public venue outside the school district where the students have the opportunity to display their work,” notes Dorothy Roschen, Exhibition Chair.

The judges of the exhibition are artists and retired art teachers: Leslie Clemons Carr, Melvena Quillen, and John Fantine. A free public reception for the show will be held on Sunday, February 28th, from 2:00pm to 4:00pm at the Philadelphia Sketch Club. Awards will be presented at 3:00pm.

The Philadelphia Sketch Club is a volunteer driven organization, with local artists contributing time and resources toward its mission since 1860. Gallery hours are 1:00pm to 5:00pm Wednesdays, Fridays, Saturdays and Sundays. Admission is free for the general public.

Founded in 1860, the Philadelphia Sketch Club is America’s oldest artists’ club. The mission of the Club is to support and nurture working visual artists, the appreciation of the visual arts, visual arts education, and the historical value of the visual arts community.

ThePhiladelphia Sketch Club235 S. Camac Street, Philadelphia, PA 19107-5608
215-545-9298
sketchclub.org

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Zo

zo8Art of the ZoPhiladelphia Museum of ArtTiddim Woman’s Wedding Mantle (Tawnok), 1900–30, Myanmar (Burma), Chin State, Tiddim Township (Gift of David W. and Barbara G. Fraser, 2014-70-28)

Art of the Zo: Textiles from Myanmar, India, and Bangladesh, Philadelphia Museum of Art

The Philadelphia Museum of Art presents an exhibition of woven textiles made by the Zo peoples of South Asia, including works that range from ceremonial tunics and wrap skirts to mantles, capes, blankets, and loincloths. Art of the Zo: Textiles from Myanmar, India, and Bangladesh features traditional weavings worn for daily life and ceremonial occasions, such as weddings, funerals, and feasts. The exhibition comprises works from the Museum’s collection of costume and textiles, supplemented by gifts and loans from David W. and Barbara G. Fraser, coauthors of Mantles of Merit: Chin Textiles from Myanmar, India, and Bangladesh (2005).

Art of the Zo, Haka High-Ranking Man’s Mantle (Can-lo Puan) Art of the ZoPhiladelphia Museum of Art, Haka High-Ranking Man’s Mantle (Can-lo Puan), 1900–40, Myanmar (Burma), Chin State (Purchased with funds from the proceeds of the sale of deaccessioned works of art, 2006-57-1)

The exhibition showcases the patterns, techniques, and local variations that contribute to the beauty and craftsmanship of these woven treasures. Zo weavers create textiles that vary from unpatterned, indigo-dyed cloth and simple, colorful stripes to complex weaves that could be mistaken for embroidery. Among the highlights is a cotton blanket produced in a warp-faced weave around 1900 that would have been used in ceremonies for the sacrifice of a mithan, a semi-domesticated, ox-like animal. Also included is a Dai woman’s gray and white wedding blanket, woven between 1920 and 1960, which would have been created for a bride by her mother, along with shoulder cloths, decorated with glass beads and metal bells, which could double as baby carriers. A variety of men’s loincloths are on display as well, woven of cotton and silk.

Art of the Zo, Lauktu Woman’s Head Wrapper (Tonpauk La), Art of the ZoPhiladelphia Museum of Art, Lauktu Woman’s Head Wrapper (Tonpauk La), 1910–20, Myanmar (Burma), Rakhine State (Purchased with the Stella Kramrisch Fund, 2006-1-23)

In addition to textiles, various adornments are featured in the exhibition, among them earrings, bracelets, and necklaces made of metals, glass, and mirrors. The exhibition includes an example of the back-tension looms made of bamboo rods and wooden sticks that are traditionally employed by the Zo peoples to produce their fabrics. The simple loom is shown with a partially woven cloth next to a finished example from the Museum’s collection to offer insight into the weaving techniques. A video presentation, photographic details of selected works, and graphics of specific weave structures further demonstrate the virtuosity of Zo skills.

Art of the Zo, Laytu Man’s Tunic (Khrangimm)Art of the ZoPhiladelphia Museum of Art, Laytu Man’s Tunic (Khrangimm), 1920–40, Myanmar (Burma), Chin or Rakhine State (Purchased with the Stella Kramrisch Fund, 2006-1-18)

The Zo peoples, of Tibetan-Burmese origins, have lived for hundreds of years in mountainous regions of South Asia. They comprise about fifty linguistic groups, culturally related through affinities of language, the values surrounding their textiles, and the structure and technique of their weavings. Prior to the arrival of missionaries in the mid-1800s, they worshiped ancestral spirits and spirits dwelling in nature. Today most are Christian. Encouraged by missionaries to give up their traditional textiles, today Zo weavers continue to produce these culturally important textiles and frequently sell them as collectibles.

Art of the Zo, Khami Woman’s Breast Cloth (Akhen)Art of the ZoPhiladelphia Museum of Art, Khami Woman’s Breast Cloth (Akhen), 1920–50, Myanmar (Burma), Rakhine State (Purchased with the Stella Kramrisch Fund, 2006-1-6)

In Zo communities, textiles have long conferred status on the weaver and document the wearer’s merit in this life and in the afterlife. The textiles are woven exclusively by women and are prized as the highest form of art. The exhibition explores how these works are made and worn, and features early to mid twentieth-century examples from specific localities and cultural divisions, such as the Northern Chin; Southern Chin; Ashö; and Khumi, Khami, and Mro. Although today most Zo people increasingly adopt Burmese and western attire, the weaving traditions are being preserved through the efforts of textile experts like Pa Mang, Nu Shwe, and Mai Ni Ni Aung, who have engaged master weavers to produce contemporary pieces for sale and to train the next generation of weavers. Some of these are available in the Museum Store.

Art of the Zo, Utbu Woman’s Mantle (Pachang Sungkyar)Art of the ZoPhiladelphia Museum of Art, Utbu Woman’s Mantle (Pachang Sungkyar), 1930–80, Myanmar (Burma), Magwe Division, Sedouttaya Township (Gift of David W. and Barbara G. Fraser, 2014-70-23)

David Fraser stated: “These extraordinary textiles offer us rare and exceptional beauty. As records of the artistic traditions that illuminate Zo values, they also are highly valuable in preserving a living culture. Among the Zo, men create the looms, and they also make utilitarian baskets. The women create the art and they are much respected for it.”

Art of the Zo, Haka Woman’s Ceremonial Tunic (Kor)Art of the ZoPhiladelphia Museum of Art, Haka Woman’s Ceremonial Tunic (Kor), 1940–70, Myanmar (Burma), Chin State (Purchased with funds from the proceeds of the sale of deaccessioned works of art, 2006-57-5)

Support

Support for this exhibition is provided by The Coby Foundation, Ltd.

Curators

Dilys E. Blum, The Jack M. and Annette Y. Friedland Senior Curator of Costume and Textiles, with consulting curators David and Barbara Fraser

Location

Joan Spain Gallery, Perelman Building, ground floor, The Philadelphia Museum of Art

About David and Barbara Fraser

David W. and Barbara G. Fraser have been studying the artistry, structure, and cultural importance of Zo textiles for fifteen years. Their book, Mantles of Merit: Chin Textiles from Myanmar, India, and Bangladesh, won the Millia Davenport Publication Award of the Costume Society of America and the R.L. Shep Book Award of the Textile Society of America. Their work also garnered the Ancient & Modern Prize. They have curated exhibitions of Zo textiles at the Textile Museum in Washington, D.C., the University of Pennsylvania’s Arthur Ross Gallery, and Denison University, and David Fraser has co-curated an exhibition at Haverford College. Barbara Fraser is a member of the Advisory Council of the Textile Museum. A retired financial services attorney, she is a graduate of Bryn Mawr College and Emory University Law School. David Fraser is a member of the Costume and Textiles Advisory Committee of the Philadelphia Museum of Art. He is a research associate at the Textile Museum, a consulting scholar at the University of Pennsylvania Museum of Archaeology and Anthropology, and a master artisan of the Pennsylvania Guild of Craftsmen. A former president of Swarthmore College, he is a graduate of Haverford College and Harvard Medical School.

Art of the Zo, Mizo Woman’s Ceremonial Wrapped Skirt (Puan Laisen)Art of the ZoPhiladelphia Museum of Art, Mizo Woman’s Ceremonial Wrapped Skirt (Puan Laisen), 1950–70, Myanmar (Burma), Northern Chin State or India, Mizoram (Gift of David W. and Barbara G. Fraser, 2014-70-25)

Exhibition hours

Tuesday–Sunday: 10:00 a.m.–5:00 p.m.

Social Media

Facebook and Twitter: philamuseum ; Tumblr: philamuseum ; YouTube: PhilaArtMuseum ; Instagram: @philamuseum


The Philadelphia Museum of Art
is Philadelphia’s art museum. We are a landmark building. A world-renowned collection. A place that welcomes everyone. 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.

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

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