Tag Archives: Photography

John Singletary – Through Lines/Fault Lines

John Singletary - Through Lines/Fault Lines
John Singletary, Still Frame from Traces, 22:45 Minute OLED Video/Sound Installation

John Singletary – Through Lines/Fault Lines

The Gallery at Penn College (a Penn State Affiliate) 

Room 303, The Madigan Library, 1 College Ave., Williamsport, PA, 17701

On View Until March 23rd, 2023

Closing Reception and Artist Talk

Wednesday, March 22nd, 4:00-7:00 PM

Press Contact:

Cindy Davis Meixel 

Writer/Photo Editor

T 570-320-2400; x 7134

E cmeixel@pct.edu

Exhibition Hours:

Tuesday – Thursday: 2:00 PM – 8:00 PM

Friday: 10:00 AM – 8:00 PM

Sunday: 1:00 PM – 5:00 PM

Transcending the limitations of the photographic medium, John Singletary creates multidisciplinary installation experiences. His work graces The Gallery at Penn College through March 22. Singletary’s Through Lines/Fault Lines is the first exhibition of multimedia work on screens in the gallery’s history. Located on the third floor of The Madigan Library at Pennsylvania College of Technology, the gallery is in its 17th season.

John Singletary - Through Lines/Fault Lines
John Singletary, Installation View – Traces, 22:45 Minute OLED Video/Sound Installation

The exhibition includes two installations: Traces and Anahata.

“John’s new series, Traces, was created specifically for his solo exhibition in The Gallery at Penn College,” said Penny Griffin Lutz, gallery director. “Visitors will be immersed in an audiovisual experience that explores culture, beliefs and the human connection.”

Traces uses video, digital and stop-motion animation, historical footage, and audio. “Anahata” is photography-based and presented as an immersive installation on organic LED electronic canvases.

A photographer and multimedia artist based in Philadelphia, Singletary received a Bachelor of Fine Arts in photography from The University of the Arts. His work has been collected by the Philadelphia Museum of Art and The Center for Fine Art Photography, as well as other institutional and private collections.

The artist says the imagery and vignettes in Traces, an ongoing multimedia work, depict “the extraordinary light and darkness in the human condition and life events such as the genesis of our existence and the purpose we serve to each other and ourselves.”

The audio component of the installation consists of a series of anonymously conducted interviews with a range of participants. The perspectives highlighted reveal the universality and individuality of values, the intersectionality of symbolism across cultures and lineages, and the perpetual cycles of life.

“Surveying the myriad and disjointed experiences that make up a life, ‘Traces’ explores the way we construct our internal narratives and create meaning from experience,” Singletary said.

John Singletary - Through Lines/Fault Lines
John Singletary, Still Frame from Traces, 22:45 Minute OLED Video/Sound Installation

Anahata explores human relationships and their connection to the divine. Choreographed movement was captured with an open-spectrum camera in a purpose-built, ultraviolet light studio where dancers performed in handcrafted costumes. The resulting dreamlike images are steeped in archetypal symbolism, mythology and mysticism.

A long-term collaboration between the artist and dancers, costume designers, makeup artists, choreographers and other artists, Anahata unveils a “frenetic tribe” that feels of another place and time.


The Gallery at Penn College is open 2 to 8 p.m. Tuesdays, Wednesdays and Thursdays; 10 a.m. to 4 p.m. Fridays; and 1 to 5 p.m. Sundays. (The gallery is closed on Mondays and Saturdays and will also be closed March 5-12 during Spring Break.)

John Singletary - Through Lines/Fault Lines
John Singletary, Dryads from Anahata, 5′ x 3′ OLED Installation

Thank you to John Singletary for the content of this post.

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REBECA MARTELL – NIGHT IS THE NEW DAY

Rebeca Martell, Night is the New Day

REBECA MARTELL – NIGHT IS THE NEW DAY

Where will we go after the last borders? 

Where will the birds fly after the last darling? 

Where will the plants sleep after the last wind? 

We’ll write our names with steam dyed crimson,  we will cut the hand to the edge so that our meat completes it.

Here we will die.

Here, in the last passage.

Here or there… our blood will plant its olive trees.

Mahmoud Darwish

Night is the New Day, Rebeca Martell
Night is the New Day, Rebeca Martell

In the black and white photographic series Night is the New Day, Rebeca Martell evokes the recognition of the strangeness that she experiences looking at in exile.  Between surprise and nostalgia, Martell moves towards the redefinition of herself, cautiously exploring the places she sees and the people who inhabit them.  With a foreign lens, looks for the moment that sublimates the experience of herself, that captivates the feeling of being in the dark leaving behind the memories of the tropic, like running away from a bad dream.

Rebeca Martell

Martell’s camera is the vehicle that intervenes between her gaze and the other; where the faces are not recognized, where the blur in the images is the metaphor of the distance between the self and the beings that inhabit reality.  Martell utilizes the absence of light to blur the very act of looking. Martell’s work not only sublimates emotions but is also a lonely walk; the cold and silence, the memories that inhabit the memory. 

Night is the New Day, Rebeca Martell

The images of Night is the New Day are an evocation of what the darkness hides from the eye, what cannot be perceived by the naked eye, the ghost of the absent light during the winter that only leaves in its wake a few shades. Rebeca Martell makes use of photography to portray her days of winter in Sweden while, at the same time offers us a testimonial of a look that becomes raw, powerless and unprotected against others and before her own process of self-recognition.  She portrays the moment where the connection between the gaze and the soul is created, right there where it appears what cannot be shown with the naked eye, where she reaches the image from the furthest part of the unconscious.                            

Liliana Marcos Lozano, 2022

Night is the New Day, Rebeca Martell

Rebeca Martell bio:
Rebeca Martell, an independent photographer, trained at UNAM, Centro de la Imagen, Jumex Collection, Philadelphia Photo Arts, Rufino Tamayo Museum, Alameda Art Laboratory, and Photoespaña.


Her work has been exhibited at the Museum of Contemporary Art of Oaxaca, the Barnes Foundation, X-Teresa Arte Actual, the Sebastián Foundation, Brukenthal National Museum of Contemporary Art in Romania, Philadelphia Photo Arts, and the National Auditorium; as well as in the Mexican embassy in Spain, Belgium, Lithuania, Hungary, Greece, Holland, France, San Pedro Museum of Art, and in the Juan C. Méndez PhotoMuseum, as well as having been a winner at the eighth State Meeting of Contemporary Art in Puebla, Mexico.

Night is the New Day, Rebeca Martell

Philiput presents: Rebeca Martell – Night is the New Day photographic art by Rebeca Martell, curated by Devin Cohen, curatorial text by Liliana Marcos Lozano

event photos by Devin Cohen

Night is the New Day, Rebeca Martell


Kuerners

Kuerners Farm

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


“Evening at Kuerners” Plein Air

Kuerner Farm Photography Evening

Kuerner Farm Plein Air Days

Drawing & Painting with Karl J. Kuerner

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

Laura Westmoreland

Associate Educator

Adult & Community Programs

Pronouns: she/her/hers

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Bit

Alaska Reimagined, Erica Harney, A Bit of the Arts

Dear Friends, Neighbors and Art Lovers, If you’re staying local for the holiday weekend, I’d like to invite you to

A BIT OF THE ARTS: HOLIDAY ART SALE

Friday, November 29th from 4:00 – 8:00, Saturday, November 30th from 10:00 – 4:00.
*Free Admission*

Galaxy,Erica Harney

 
Live Music* Food* Pottery* Jewelry* Photography* Paper Arts* Fibers* Painting* Printmaking and More! Twentieth Century Club.

Twentieth Century Club 84 South Lansdowne Avenue, Lansdowne, PA 19050. In the heart of beautiful, historic Lansdowne, the Twentieth Century Club awaits you and your guests in a gracious, one hundred year old, arts and crafts style building.

Please note – Lansdowne is in Upper Darby/West Philly. NOT Lansdale, which is in Montgomery County. Easy mistake to make! I will be there with my watercolors and other small, framed pieces! For more information visit the event page.

Leaf,Erica Harney

Can’t make it in real life? Check out my Etsy Shop! Free shipping and gift-wrapping within the continental US :)Hope to see you there. Either way, have a lovely holiday!

Leaf 86,Erica Harney

Thank you to Erica Harney for the content of this post.

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Dynamics

brooke lanier fine art

Fluid Dynamics, Geoffrey Agrons, Sebastien Leclercq, Deborah Weiss, and Brooke Lanier

brooke lanier fine art

820 S. 4th Street, Philadelphia, PA 19147

Phone: 267-329-9653

Email: brooke.lanier@gmail.com

Website: brookelanier.com/fluid_dynamics

Fluid Dynamics

Geoffrey Agrons, Sebastien Leclercq, Deborah Weiss, and Brooke Lanier

November 15, 2019 – January 3, 2020

Opening Reception Friday, November 22 5:30pm – 8:00pm

Holiday Party Friday, December 20, 5:30pm-8pm

Water inspires a unique fascination as a visually complex, mesmerizing substance that is also essential for human life.   From the pristine to the toxic, turbulent to placid, Fluid Dynamics assembles a collection of photographs and paintings that address a diverse spectrum of ways of depicting, contemplating, and interacting with bodies of water.

Deborah Weiss’s oil paintings on panel are the most abstract and gestural pieces in the show, utilizing an intriguing absence of contextual cues as to the scale of the subject.  The palette and textures suggest shorelines with intricate deposits of silt, but they could easily be interpreted as storm systems, ocean currents, or weathered wood.

The patterns in Weiss’s paintings would feel right at home as vignettes along the shoreline of the Salton Sea in Geoffrey Agrons’s photos. In the 1950’s and 1960’s the area was home to luxury resorts. By the 1970s, agricultural runoff, evaporation, and low rainfall had rendered the water toxic and saltier than the Pacific Ocean. Massive fish die-offs, algal blooms, and related bird deaths rendered the area unattractive for those seeking a beach vacation.  Other photographs capture scenes from shorelines impacted by hurricanes, pollution, and drought. Independent of this narrative, the photographs contain melancholy yet peaceful vistas punctuated by bleached driftwood and architectural relics of nautical activity.

Agrons’ ecological allegories pair with Sebastien Leclercq’s scenes of shipping vessels that damage the very environment upon which their industry depends.  The views from different parts of the world, desert and arctic, imply different facets of climate change.  Leclercq spent five weeks aboard several ships in the Finnish Maritime Fleet, documenting the contemporary state of an ancient tradition. The boats are so enormous that at times they seem abstracted and transformed into colorful, geometric compositional elements rather than floating factories.

Leclercq’s views of ships lend context to Brooke Lanier’s paintings. The saturated colors and hard edges of boats and docks create a collage effect in real life.  Lanier pushes that line of thought and creates collage-based paintings that recombine beloved landscapes in the composited manner of unreliable memories. Alongside Leclercq’s photographs, Lanier’s paintings are reconnected to their origins, creating a dialogue.

Gallery Hours are Tuesday and Thursday 12pm – 6pm, Friday 11am – 5pm, Saturday 11am – 3pm, by appointment or chance.  The gallery will be closed December 22 – 29, 2019 for the holidays and open by appointment in January.

Thank you to Brooke Lanier for the content of this post.

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