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Baker Industries

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Baker Industries

Art and Artisan Fair at Baker Industries, Call For Entries, Malvern PA

Baker Industries | 184 Pennsylvania Avenue, Malvern, PA 19355 www.bakerindustries.org 

Call For Entries Art and Artisan Fair at Baker Industries October 24 – 25, 2015

A juried event benefiting Baker Industries, a 501 (c) (3) nonprofit work rehabilitation program serving adults with intellectual and physical disabilities, recovering substance abusers, individuals on parole or probation, and the homeless.

Our Impact: While Baker Industries works to directly impact the quality of life of its program participants, the results are much more far-reaching: recidivism rates are reduced, welfare rolls are lowered, and taxpayer rolls are increased.

Our Bottom Line: Baker Industries accepts no government funding.  Our administrative costs are 8.6% of our operating expenses.  70% of revenue comes from payment of the jobs we do for our customers.  The balance is provided by individuals and organizations willing to make charitable contributions to our operating costs.

  • Deadline for Entries: September 18, 2015
  • Event Dates: October 24, 2015, 5PM – 9PM (Cocktail reception, $35/person) October 25, 2015, 11AM – 4PM (Admission, $5/person)
  • Event Location: Baker Industries’ Warehouse 184 Pennsylvania Avenue Malvern, PA 19355
  • Entry Details: Send 3-4 images representative of what you will bring to the event with a $5 entry fee. Label JPEG images only as follows: image#_firstname_lastname.jpg. Include your name, contact information, and website. Images will not be reviewed without payment. Go to our online store at www.bakerindustries.org to pay.
  • Commission Fees: 70% to artist, 30% to Baker Industries Mail To: beth@bakerindustries.org
  • Contact Information: Beth Tiewater beth@bakerindustries.org 610-296-9795
  • Website: www.bakerindustries.org
  • Jurors: Jurors will be state juried members of the Haverford Guild of Craftsmen, a chapter of the Pennsylvania Guild of Craftsmen. www.haverfordguild.org
  • 25-40 quality artists and crafters will be chosen.
  • All entries must be handmade by the entrant, original, and free of copyright infringement. No class or workshop art; no copies or likenesses of other work. 
  • All work must be for sale. 
  • All money will be collected by Baker Industries. Artists and artisans will receive payment within two weeks of the event. 
  • All items must be labeled and numbered; a list of items, with description if necessary, is required.
  • Painters chosen are asked to provide at least 10 paintings. Please provide racks, if possible.
  • Crafters will receive the area of a six-foot table. All items may not always be displayed together.
  • Fine artists may sell note cards and no more than 20 matted pieces (they will not be hung)
  • Hanging items more than 25 pounds and larger than 4 feet must be identified in submission
  • Artists and crafters are asked to attend the opening reception on October 24, 2015.
  •  Baker Industries is not responsible for loss or damage to any art or property brought to the event. The art or property is not insured while at Baker Industries. 
  • If you have a booth set-up and would like to use it, please indicate this on the entry form. Baker Industries | 184 Pennsylvania Avenue, Malvern, PA 19355 | www.bakerindustries.com
  • Baker Industries’ Art and Artisan Fair Entry Form Submissions Checklist
  • Completed Entry Form
  • $5 Entry Fee
  • Files or slides emailed to beth@bakerindustries.org or Photos or CD mailed to Baker Industries, 184 Pennsylvania Avenue, Malvern, PA 19355

 

THIS JUST IN!
There will be a $500 prize to a participating artist at this year’s Art and Artisan Fair! Get your entries in ASAP!!!

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Studio

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Bruce Garrity, Studio VisitBruce Garrity, Studio Visit, Rutgers-Camden, Recent Work, detail of large painting, photograph by Jeff Stroud

Bruce Garrity, Studio Visit, Rutgers-Camden, Recent Work

“I am really into architectonic, geometric abstract art like Sangram Mujamdar. He’s a really good painter, he’s Indian, American, teaches at MICA, you would probably like his work. I don’t know that I’m influenced by him but he’s somebody who is a contemporary, and I think my work somehow relates to his and what he’s doing. it’s also that they are representational that I like about them. There’s a few people around like that, Gideon Bok in Boston, they are more about perception.”

bruce5Bruce Garrity, Studio Visit, Rutgers-Camden, Recent Work, photograph by Jeff Stroud

The studio on the Rutgers campus has high ceilings, big widows, rolling lockers and space to paint big. Bruce Garrity‘s paintings are big, really big. So big that when he show’s them he has to rent a moving van. But the flexible space isn’t crowded and I didn’t notice any paint smell so I guessed the vivid paintings were acrylic.

“No, these are all oil paintings. We don’t use very much turpentine and usually what you smell is turpentine, I don’t use it very much. There are some passages that are sort of washy, but they were painted a while ago. I don’t use a lot of medium, I use a little bit of this alkyd because I need them to dry. But normally, I don’t even put any of that into it, it’s the oil paint, it’s thick, but it’s just the paint.”

I like using Liquin, but it smells. It’s good for outdoors but my studio smells like fumes.

“I just use a little and then the smell goes away after a day or two. In here it’s gotten to the point where we don’t use that much. My students have one can that they all wash their brushes in and that’s about it. We go though maybe a quart of turpentine per semester.”

I’ve been using Gamsol to clean my brushes.

“Some people say that’s a problem because you just don’t smell it, there’s still fumes in the air. There’s a school of thought that it’s better if it smells a little bit because then you’re aware of it in the air. We use a little of it so there’s not a lot of it in the air.”

bruce4Bruce Garrity, Studio Visit, Rutgers-Camden, Recent Work, photograph by Jeff Stroud

Bruce, you’re canvasses are huge, I struggle with just small ones.

“You know, it’s the scale. The scale that I’m comfortable with is essentially life-size at the picture plane. So, if I make a figure, the whole figure is six feet tall. So, it really has to do with the scale more than anything else. I like big paintings, too. But they’re a pain in the ass. You have to have to right space for them. But, you know, it’s how I like to paint. It is what it is.

That big one out there, the one that’s in the other room. That was a completely different painting in 1995. I showed it down here in the Stedman Gallery and it had a big dinosaur, and a jeep, and a bunch of other things. It was sort of like a museum/circus vibe, I was big into that back in the 90s. I kept it, because obviously no one was going to buy it. So at one point I just white-washed the whole thing.

Towards the end of the time that I was in graduate school that’s when I started to paint landscapes. I painted pretty heavily because I was in graduate school and I started do this waterfall bit that is kind of like what I would see up in the Poconos when we went on vacation. And then I started putting these figures in, kind of like Cezanne’s Large Bathers, it’s kind of like the Large Bathers of the Poconos.”

bruce3Bruce Garrity, Studio Visit, Rutgers-Camden, Recent Work, photograph by Jeff Stroud

Do you have people model for you?

“Some of them are. Either from models who were here. some are taken from drawings, photographs, a bunch of different stuff. Some are the top half might be one person and the bottom half might be someone else. They’re kind of Frankenstein-ed together, I don’t know that I would normally do that, but, that is basically how Cezanne did his. For a guy who was basically known as a perceptual painter, always painting what was in front of him, all the Bathers paintings, he made tons of them, were all from out of his head or old sketches. I think he even did some of them out of fashion magazines that his sister had. So, he was imagining girls with their clothes off, I guess.

Apparently, he was like nervous around models. It wasn’t like he never had nude models, but they made him nervous-er. I always thought that was really interesting, and everybody I always talks about the stuff that he did, looking at it perceptually, but going forward, the Cubists looked at those paintings and that’s where they got permission to do what they did. It was like, ‘He can do it. Why can’t we?'”

bruce2Bruce Garrity, Studio Visit, Rutgers-Camden, Recent Work, photograph by Jeff Stroud

Will you be showing this at your show at 3rd Street Gallery?

“Oh, yeah. It will probably be about twenty paintings. There are seven or eight big things, and a bunch of little things. We will be showing in the annex as well and there are some spots the smaller pieces will look well. I’m showing with Katherine Kurtz, she does some abstract things, some are more figurative. I would say she’s mainly an abstract painter but here she’s showing more figurative, DeKooning-ish, kind of figurative things.

The pairings at 3rd Street Gallery are kind of random, but sometimes you get these connections that are interesting. I’m looking forward to it, I like Katherine a lot. I like her work. And my work doesn’t always play well with others, they’re overwhelming and colorful and big. But I think our things are going to look good together.”

bruce6Bruce Garrity, Studio Visit, Rutgers-Camden, Recent Work, photograph by Jeff Stroud

Recent Work Bruce Garrity

September 2 – September 27, 2015

FIRST FRIDAY: September 4, 2015, 5:00 – 9:00 pm

ARTIST RECEPTION: Sunday, September 13, 2015,1:00 – 4:00 pm

“Bruce Garrity‘s poetic figurative paintings utilize a broad vocabulary of painterly means in the pursuit of visual drama. The surfaces of the works range from light washes, direct drawing, scumbles and layerings to heavy impastos of the mostly saturated color palette. Garrity draws on various methods of construction, to bring the works to fruition: direct perception, memory, invention and combinations of these. The paintings, some as large as eight by ten feet, depict figures and objects life size at the picture plane so one feels they can be entered and engaged directly. They are autobiographical of interests over a long period of time.”

The artist will present a walk through gallery talk on Sunday, September 20th beginning at 2pm.” 3rd Street Gallery

Written by DoN Brewer except where noted.

Photographed by Jeff Stroud

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Orphan Rug

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Armenian Orphan Rug Mural by Kathryn PannepackerArmenian Orphan Rug Mural at Zakian Carpet Cleaning by Kathryn Pannepacker

Armenian Orphan Rug Mural at Zakian Carpet Cleaning by Kathryn Pannepacker

August 7th, a beautiful sunny Summer Day, there was a big party at 4930 Parkside Avenue. Rows of chairs were lined up on the carpeted sidewalk in front of Zakian Carpet Cleaning. The Philly press, politicians, artists, neighbors and friends all gathered for an unveiling of an important artwork. The story of the Armenian Orphan Rug is difficult to explain without tears coming to my eyes since it was woven by hundreds of orphaned children; the Armenian Orphan Rug Mural memorializes the genocide of over one million Armenians a century ago.

Zakian Carpet Cleaning owner Bob Zakian hired Kathryn Pannepacker to create a mural for a large expanse of wall on the front of the historic factory. Kathryn is well known for her carpet themed murals throughout Philly and understands how to make large scale projects happen. Philadelphia mural artists Kathryn Pannepacker and Angela Crafton along with apprentice Lizzy Mamourian interpreted the carpet in a bold, eye catching, design complementing the architecture and telling the tragic tale of Armenian annihilation with confidence and sensitivity. Lizzy had never worked on such a big project and as a representative of the Zakian family, her input to the completion of the mural can not be understated.

“Not many businesses have been around since 1923 much less still run by the same family. Each day when Bob Zakian arrives at his rug cleaning plant and showroom on Parkside Avenue, across from the Mann Music Center, he is reminded how his grandfather and then his father took extreme care in cleaning their customers’ valuable Oriental rugs.” – About Zakian Carpet Cleaning

Armenian Orphan Rug Mural by Kathryn PannepackerArmenian Orphan Rug Mural at Zakian Carpet Cleaning by Kathryn Pannepacker

“The rug is made to characterize the Garden of Eden, contains 4 million knots and took 18 months to complete.  The rug measures 11.5 feet by 19 feet and is in excellent condition. It was removed with President Coolidge’s personal possessions when he left office in 1929 but was returned to the White House as a gift from his family in 1982. The rug has only been displayed twice since then, and is a reminder of the close relationship between the people of Armenia and the United States.” – The White House

At the mural unveiling I overheard comments from Armenians whose families were affected by the genocide. Families reconnected with cousins of cousins, and friends of friends. The mural is a metaphor for the awful separation of families, children were sent to orphanages all over Europe, and a hundred years later Armenians are still reconnecting with relatives.

Armenian Orphan Rug Mural by Kathryn PannepackerArmenian Orphan Rug Mural at Zakian Carpet Cleaning by Kathryn Pannepacker

The Armenian Orphan Rug, also known as the Ghazir Orphans’ Rug, is an Armenian styled carpet woven by orphans of the Armenian Genocide in Ghazir, Lebanon. The carpet took eighteen months to make and was eventually shipped to the United States where it was given to President Calvin Coolidge as a gift in 1925. It was returned by the Coolidge family to the White House in 1982. Its most recent public display was in November 2014 at the White House Visitors’ Center as part of the exhibition “Thank you to the United States: Three Gifts to Presidents in Gratitude for American Generosity Abroad”. – Wikipedia

Armenian Orphan Rug Mural by Kathryn Pannepacker

“Third generation Philadelphia business owner Bob Zakian’s rug cleaning business has been a cornerstone of the Parkside neighborhood of the city for more than 92 years. Zakian’s grandparents opened Zakian Rug Cleaning in 1923 shortly after emigrating from Armenia and surviving the Armenian Genocide of 1915.

In honor of the100th anniversary of the genocide, Bob Zakian knew he wanted to pay tribute to his family’s heritage as well as give back to Parkside, the neighborhood his business has always called home.” – Kathryn Pannepacker

Armenian Orphan Rug Mural by Kathryn PannepackerArmenian Orphan Rug Mural at Zakian Carpet Cleaning by Kathryn PannepackerArmenian Orphan Rug Mural by Kathryn PannepackerArmenian Orphan Rug Mural at Zakian Carpet Cleaning by Kathryn Pannepacker

Bob Zakian, Representative Vanessa Lowery Brown, Lizzy Mamourian, Kathryn Pannepacker, State Senator Vincent Hughes, and Angela Crafton at the unveiling of Armenian Orphan Rug Mural at Zakian Carpet Cleaning by Kathryn Pannepacker.

Read Mural honors Armenian heritage, Parkside neighborhood, by The Philadelphia Tribune staff writer Bobbie Booker.

“In honor of the 100th anniversary of the genocide, Zakian knew he wanted to share his history in the neighborhood his business has always called home.” – Bobbi Brooker

Armenian Orphan Rug Mural by Kathryn PannepackerArmenian Orphan Rug Mural at Zakian Carpet Cleaning by Kathryn Pannepacker

When you drive down Parkside Avenue and you catch a glimpse of the colorful mural take some time to stop and take a closer look. The design incorporates fanciful animals, natural and supernatural, like characters from a child’s favorite book. One of my earliest memories is my Grandma reading to me. Armenian Orphan Rug Mural at Zakian Carpet Cleaning kindly explains the unfathomable gap of maternal and familial love that was experienced by generations of Armenians.

Written and photographed by DoN Brewer except where noted.

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Panorama

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Panorama: Image-Based Art in the 21st Century, Main Line Art CenterDavid and Goliath © Marjan Moghaddam 2012

Main Line Art Center Unveils Panorama: Image-Based Art in the 21st Century
Two-month extravaganza features 15+ programs across greater-Philadelphia, free evening festival, and virtual exhibition opportunities.
September 12 – November 4, 2015

HAVERFORD, PA (July 29, 2015) — Fresh off the heels of Main Line Art Center’s new digital media program and building and campus expansion, the Center, located in Haverford, announces the unveiling of the first annual Panorama: Image-Based Art in the 21st Century.  The two-month happening runs September 12 through November 4, 2015 and is a celebration of the photographic image and its expansive role in contemporary artforms like digital photography, printmaking, video, film, animation, and gaming design.  Panorama is supported by Wilkie Lexus and Main Line Today (as of July 28, 2015).

Anchored by the on-site exhibition Modern Utopias and a dynamic and interactive evening festival at Main Line Art Center, Panorama features physical and virtual exhibitions, lectures, portfolio reviews, and educational programs held at Main Line Art Center led by accomplished artists who utilize digital technology to deliver the unexpected.  In addition to the programs occurring on the Art Center’s campus, Panorama includes image-based programs produced by Creative Partners, arts and culture organizations spanning from Philadelphia to Lehigh County.  As of July 28, 2015, Creative Partners include ArtsQuest, the Delaware Center for the Contemporary Arts, Gravy Studio & Gallery, inliquid.com, James Oliver Gallery, Pentimenti Gallery, Philadelphia’s Art in City Hall, Philadelphia Photo Arts Center, The Print Center, and Silicon Gallery Fine Art Prints.  For a list of Creative Partner programs, visit www.mainlineart.org.

The focal point of Panorama is Modern Utopias, the featured exhibition on view in Main Line Art Center’s galleries September 12 through November 4.  Curated by Main Line Art Center Executive Director Amie Potsic, Modern Utopias presents compelling visions of modern existence, human potential, and virtual realities through works by Marjan Moghadden (New York, NY), Noah Addis (Columbus, OH), and Nicole Patrice Dul (Philadelphia, PA).  The Art Center will host an Artist Talk & Opening Reception on Friday, September 18 from 5:30 to 8:30 pm, and Artist Nicole Patrice Dul will present a two-day workshop on her process, Solarplate Etching, on Tuesday, September 29 and October 6 from 6:30 to 9:30 pm.

Beginning September 12, anyone, regardless of age or experience, can contribute to the Panorama virtual exhibition, which will be available on Main Line Art Center’s newly redesigned website in December.  Community members are encouraged to visit Community Partners, which include gardens, parks and green spaces in the greater-Philadelphia area, or other locations to document what utopia means to them, and then upload their digital photograph or video to www.mainlineart.org.

Finally, virtual and hands-on collide at Main Line Art Center on Saturday, October 24 from 5 to 9 pm for the high-energy Panorama Festival featuring music and entertainment, food trucks, live art experiences, innovative art-making, digital demos, and more.  Artist Tim Portlock will light up the night with a presentation of site-specific work, kicking-off the Center’s new Digital Artist in Residency Program.

Main Line Art Center is the community’s home to discover, create, and experience visual art.  A frequent recipient of Best of Awards for its beautiful galleries and high-quality art instruction, the Center’s visual art classes and contemporary and innovative exhibitions stimulate creativity, conversation, and joy. The mission of the Art Center is to inspire and engage artistic creativity for all ages and abilities and celebrate and strengthen the essential role of visual art in community life.  Last year 16,000 people found inspiration at Main Line Art Center, including artists with disabilities in the Center’s Accessible Art Programs, now in their 51st year, and 80,000 others were touched through the Center’s programs in the community.

Main Line Art Center is located at 746 Panmure Road in Haverford, behind the Wilkie Lexus dealership just off of Lancaster Avenue. The Art Center is easily accessible from public transportation and offers abundant free parking. For more information about Panorama including a list of all programs, please visit www.mainlineart.org or call 610.525.0272.

Thank you to Rachel Ammon, Communications Director of Main Line Art Center for the content of this post.

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A Moment

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moment3 Arnold Newman, New York City, 1979, platinum print

Michael Somoroff: A Moment.

Master Photographers, Sol Mednick Gallery of Photography, UArts

Michael Somoroff: A Moment, Sol Mednick Gallery of Photography Michael Somoroff: A Moment, Sol Mednick Gallery of Photography, The University of the Arts

Written and photographed  by Laura Storck

As a photography student at The University of the Arts, I make every effort to take advantage of the wonderful rotating exhibits on display Sol Mednick Gallery of Photography on the 15th floor. I was especially motivated to see the current exhibit by ‘Michael Somoroff: A Moment. Master Photographers‘ which includes several gorgeous platinum prints of well-known luminaries such as Elliott Erwitt, Mary Ellen Mark, Frances McLaughlin-Gill, Ben Somoroff, Ben Stern, and Arnold Newman.

moment2Michael Somoroff: A Moment, Sol Mednick Gallery of Photography, The University of the Arts

According to The University of the Arts May 2015 news release of this exhibit:

Between 1977 and 1983, Michael Somoroff, then a young New York photographer, had the privilege of photographing photographers who played a dominant role in shaping the medium during the climax of analog image making, including Robert Doisneau, Elliott Erwitt, Ralph Gibson, Jacques Henri Lartigue, Duane Michals and Helmut Newton, among others. He was first introduced to many of these icons through his father, Ben Somoroff, who studied under Alexey Brodovitch at the School of Industrial Arts in Philadelphia, now The University of the Arts, and had become a well-known and respected still life photographer working in both Philadelphia and New York. These portraits were originally created as a kind of visual journal, a tribute to the modern masters of the medium by a young photographer. Intensely personal, the images were never intended for publication and were put aside for many years. Thirty-five years later, this body of work is finally being shown and published.

moment4Ben Somoroff, New York City, 1977, platinum print

Michael Somoroff studied art and photography at the New School for Social Research in New York, opening his own studio in the mid-seventies, eventually moving for a time to Europe. In Europe, he contributed to such publications as Life, Vogue, Harper’s Bazaar, Stern, Time, and Der Spiegel. His work is represented in collections including the Museum of Modern Art, New York; Museum of Fine Arts, Houston; Smithsonian Institution, Washington, D.C.; and Museo Correr, Venice; it has been exhibited at the International Center of Photography, New York; Los Angeles County Museum of Art; San Francisco Museum of Modern Art; and Museum of Contemporary Art in Chicago. In 2006, Somoroff created a large-scale outdoor installation, “Illumination I” for the Rothko Chapel in Houston, as the first artist invited to do so since Barnett Newman. Somoroff’s homage to legendary photographer August Sander, “Absence of Subject,” was presented during the 2011 Venice Biennale, the only private exhibit in the artistic history of the city to be placed on Piazza San Marco. Since 2011, “Absence of Subject” has traveled continuously throughout Europe and soon in South America. In 2012, “A Moment. Master Photographers: Portraits” by Michael Somoroff was awarded Best Photo Books of the Year prize chosen by American Photo.

moment9Michael Somoroff: A Moment, Sol Mednick Gallery of Photography, The University of the Arts

Upon viewing the beautiful platinum printed image of each master photographer, I felt inspiration, connection, and catharsis. The platinum print process is prized for its rich, long tonal range that includes lush blacks as well as delicate gray mid-tones and for its ability to show fine detail. Somoroff rendered his subject’s essence with the utmost expertise and transcendence. To pay personal homage to the images of these icons felt akin to a spiritual journey in a sacred space.

moment8Mary Ellen Mark, New York City, 2011, platinum print, Michael Somoroff: A Moment, Sol Mednick Gallery of Photography, The University of the Artsmoment5Ben Stern, New York City, 1979, platinum print Michael Somoroff: A Moment, Sol Mednick Gallery of Photography, The University of the Arts

I felt especially moved when seeing Mary Ellen Mark’s portrait, and particularly saddened by her recent passing. I remember first learning about her work when visiting the Philadelphia Museum of Art in September 2012 for her exhibition Prom: Photographs by Mary Ellen Mark. This exhibit occurred in conjunction with her husband’s work, cinematographer Martin Bell’s film Prom (2010), and I was very fortunate to witness a roundtable discussion among Mary Ellen Mark, Martin Bell, and the curator of photographs of the PMA, Peter Barberie. Mary Ellen Mark’s photography has been a major influence on my desire to capture documentary and street images, which has therefore inspired and helped me to feel more empathy, compassion, and responsiveness toward the human condition.

moment6Elliott Erwitt, Easthampton, NY, 1979, platinum print, Michael Somoroff: A Moment, Sol Mednick Gallery of Photography, The University of the Arts

This experience forces me to ponder where my photographic path may lead…Will my portrait ever adorn a gallery wall? All I can offer with certainty is that I appreciate every little struggle and triumph along life’s serpentine journey; I cherish and find value in the many relationships I have formed; and I strive to keep going with continued optimism. Peach and love to all.

moment7Frances McLaughlin-Gill, New York City, 1978, platinum print, Michael Somoroff: A Moment, Sol Mednick Gallery of Photography, The University of the Arts

Now in it’s 37th year, the Sol Mednick Gallery of Photography offers a year-round regular schedule of exhibitions of contemporary photography. The only endowed gallery in Philadelphia dedicated solely to the exhibition of photography, the Mednick Gallery earned the Photo Review Award for service to photography. Associate Professor and former director of the Photography program Harris Fogel, who founded Gallery 1401 in 1999, has been director/curator of both galleries since 1997. Gallery hours are Monday through Friday, 10:00am – 5:00pm., Saturday and Sunday by appointment. The exhibit is on display through July 31st.

The University of the Arts, The Sol Mednick Gallery of Photography, Terra Hall, 15th Floor 211 South Broad Street, Philadelphia, PA 19102 (215) 717-6300

Event page – http://www.uarts.edu/about/sol-mednick-gallery

website – www.uarts.edu

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Written and photographed  by Laura Storck except where noted

Instagram: http://instagram.com/laurastorck/

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Twitter: @Laura_Storck

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