Doris Peltzman, The Red Kimono

The Flowered Kimono, oil on canvas, 32”x 24”, Doris Peltzman

The Flowered Kimono

The Flowered Kimono is a painting that I’ve been thinking about for a few weeks; I first saw the painting during an afternoon  drawing workshop, paintings were arriving for the installation of the Art of the Flower show, at The Philadelphia Sketch Club, it was obvious to me the painting was a triumph, a genius creation, exploring modern concepts and honoring Philly’s heritage as a center of contemporary American art. Over the past weeks I’ve been able to observe the artwork up close, from across the room and peripherally, each observation engages and attracts my view, not just because it’s big and red, but the circumambient atmosphere the painting creates with elements of line, light, space, and color.

Doris Peltzman is a modern artist, following paths trail blazed, a timeline of determined painters making art, Philadelphia style, the artist explores painting, literally following the footsteps of Philly’s best artists. The pursuit of excellence, experiential intent, and drive to understand paint as a communication device connects directly to Eakins, Wagner, Oakley, Willcox Smith, and Wyeth, who walked the cobblestones of Camac Street pursuing their passion generations ago.

The painting is mostly a red field, pyramidal forms meeting at the center of the composition, a hub and spoke, triangular color fields form the cones of textile folds, functionally distorted application of paint conveys narrative forms with nature and flower shapes, vivid color ideas, and decorative explorations of paint with controlled abandon. Expressing the fluidity, luxury, and craft of the kimono, the narrative of the wearer, and power of color is the picture story, but the decorative qualities are enhanced and elevated with structural color, and creative distortion.

Color is balanced with the cool multi-colorful gray, active brush strokes catch the light, against strong, not hot, edges of many reds folding over into shades of colorful purples, orange, cadmium; textile is the subject fact, flesh painting balances the extravagant, billowy, silkiness with nuanced strokes of warm color, lively brushy-ness, and confident application of roles to colors. The painting is exuberant where it needs to be and restrained where it needs to be, purposeful, functional color ways, expressive triangulated shapes, sinuous descriptive lines activating the sense of movement, action and volumetric space feels monumental.

The Flowered Kimono hangs on the ‘Winners’ Wall’ now, First Prize, Art of the Flower 2019, under the historic tall windows of the gallery/studio, dominating the space with clear design devices, controlled color, facile brushwork, and a composition that describes the experience of texture, light, and liveness with color.

Awards and artist reception Sunday, March 24th at 2 PM at The Philadelphia Sketch Club, 235 South Camac Street, Philadelphia PA 19107.

by DoN

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Caitlin McCormack, Paradigm Gallery + Studio

Nobody Gives A Shit, Caitlin McCormack, photo by @thatchinesekid

String Theory

Caitlin McCormack at Paradigm Gallery + Studio

See You All in There

by DoN

Cotton string is a common material found in most homes; string is a flexible structure made from fibers twisted from multiple strands which are then twisted together into a multi-functional tool. Invented about 30,000 years ago, string is used to tie, bind, hang, gather and hold objects in place; we interact with string when we tie our shoes, strum musical instruments, and shoot weapons. Even DNA is twisted strands forming the foundation of being alive in a strange universe; string theory is a theoretical framework in which the point-like particles are replaced by one-dimensional objects called strings. In essence, we are all made of strings.

Cotton has been used to make string, then textiles, as far back in time as we can imagine; cotton textiles became a desirable fabric during the Renaissance when it was imported from the Far East to Europe. The ability to represent textiles in art became essential to commerce and power, artists became an important resource for the church and aristocracy to convey the qualities and desirability of fine fabrics; in the 14th century the painter Robert Campin was able to represent textiles so realistically that his technique of modeling light, form, and shape of textiles influences artists to the present day.

Contemporary artist Caitlin McCormack uses this common element of daily life to communicate existential information about life and death. Using crochet, weaving, and sewing, the artist strings together ideas like beads of information that connects to concepts related to our very being. Imaginary skeletons, lively creatures, creepy forms, and wordy 3D compositions carry deep thoughts about the structure of nature, time, and memory. Like the lacemakers of old, McCormack toils in her studio creating forms enveloping space and time into whimsical yet frightening sculptural works of art, sometimes working the crochet hook until her fingers bleed.

Stringing sentences, mixing metaphors, and mashing social anxieties and dysfunction into emotional constructs of the strangeness of existence, the artist connects the viewer to aspects of being alive that are difficult to express and comprehend. The handwork and simple materials are clearly evident in the forms created from her imagination; the concepts and social commentary wrap the mind in scratchy threads of consciousness, mindfulness, and thought like a heavy blanket of love and despair.

See You All in There, Caitlin McCormack at Paradigm Gallery + Studio, 746 S 4th St, Philadelphia, PA 19147, through April 13th, 2019.

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Social Practice Art, Arnie Segsl

Arnie Segal, sculpture

Social Practice Art

Social Practice Art is a movement in contemporary art that has been embraced by the Philadelphia art community as a way to communicate with an audience in a unique language of visual constructs, memes, semiotics and activism. Each of these components are the plastic elements of Social Practice Art, plastic meaning the combination of formulas, materials and actions that result from actualizing an idea, instead of line, space, color, and light as in a visual image, Social Practice Artists manipulate concepts, develop and mobilize action plans, create experiences, and provoke conversation about societal issues.

I was inspired to talk about Social Practice Art when Eileen Eckstein asked me to present at the monthly meeting of the Photographic Society of Philadelphia at the Plastic Club. I had recently viewed a show at Da Vinci Art Alliance called Look At Us and I was inspired by how the artists used visual art to plastically transform information that is on it’s surface is ugly and sad with empathy and education. As an arts blogger I have posted dozens of stories that I categorize as Social Practice Art, from grass roots organizations like Women’s Caucus for Art to main stream art institutions like The Philadelphia Museum of Art, with art shows and events tackling issues such as child sex slavery, gun violence, poverty, addiction, racism, hunger, incarceration, gay rights, and disability rights, the list is endless.

The Look at Us show at Da Vinci Art Alliance was about misogyny, violence against women, White Nationalism, and mass murder.

I wrote in my review, “The collection of artwork addresses the theme with an experience design that is engaging, thought provoking, and beautiful; the gallery is arranged to create a flow between art forms, concepts, and compositions. A meme is a unit of cultural information that spreads like a virus from mind to mind; cultural ideas, biological and social anxieties, historic resonance, and deeply packed psychological concepts are transmitted with language, image, gesture and tone. Presenting an art exhibit with disturbing imagery challenges the artists to confront ideas with a plastic language of line, light, shape, and color; social practice connects the conceptual context to an inquiry through mark making, composition, and activity by the artist. Social Practice is an important art movement in the 21st Century, artists are addressing ideas that permeate society that feel too hard to look at, too big to wrap your head around, too ugly and mean that words are not enough to explain.”

Social Practice Art, Philly Photo DayPhilly Photo Day

Last April The Philadelphia Museum of Art presented a Social Practice art event: “a project entitled Philadelphia Assembled will manifest in a series of activities and actions throughout the city to illuminate and amplify a broad set of hopes, visions, and questions about Philadelphia’s future. Initiated by artist Jeanne van Heeswijk, working alongside an extensive network of collaborators—among them artists, writers, builders, storytellers, gardeners, healers, and activists—Philadelphia Assembled aims to shape a collective narrative about our city and some of the most urgent issues it faces at a time of heightened transformation. Deeply integrated into the fabric of the Museum, the project also questions the place of this institution in the midst of this change.”

In April 2012 I wrote a blog post about The Ragdoll Project titled Stop Slavery Now: “The Ragdoll Project is meant to create awareness for human trafficking.  Joanna Fulginitti described the production to DoN, “We set up sewing machines, we used donated fabrics and we just made dolls. The dolls will be sold and all the money will go to Dawn’s Place which is a shelter for victims of human trafficking in Philadelphia.  Dawn’s Place is the only place in Philadelphia that helps victims of sex trafficking specifically.  And they do need money, they need donations, so we’re going to sell all the dolls and donate all the money.”

“The Women’s Caucus for Art was founded in 1972 in connection with the College Art Association (CAA). WCA is a national member organization unique in its multidisciplinary, multicultural membership of artists, art historians, students, educators, and museum professionals.

The mission of the Women’s Caucus for Art is to create community through art, education, and social activism. WCA is committed to recognizing the contribution of women in the arts; providing women with leadership opportunities and professional development; expanding networking and exhibition opportunities for women; supporting local, national and global art activism; and advocating for equity in the arts for all.” – Women’s Caucus for Art

Social Practice Art, DoN Brewer

Philly Photo Day

What is Social Practice Art?

Wikipedia defines Social Practice Art as: “Social practice is an art medium that focuses on engagement through human interaction and social discourse. Since it is people and their relationships that form the medium of such works – rather than a particular process of production – social engagement is not only a part of a work’s organization, execution or continuation, but also an aesthetic in itself: of interaction and development. Socially engaged art aims to create social and/or political change through collaboration with individuals, communities, and institutions in the creation of participatory art. The discipline values the process of a work over any finished product or object.

Artists working in social practice co-create their work with a specific audience or propose critical interventions within existing social systems that inspire debate or catalyze social exchange. The large overlap between social practice and pedagogy, the method and practice of teaching, especially as an academic subject or theoretical concept, demonstrates the need for art education to embrace collaborative practice. Social practice work focuses on the interaction between the audience, social systems, and the artist through aesthetics, ethics, collaboration, methodology, antagonism, media strategies, and social activism. The social interaction component inspires, drives, or, in some instances, completes the project. Although projects may incorporate traditional studio media, they are realized in a variety of visual or social forms (depending on variable contexts and participant demographics) such as performance, social activism, or mobilizing communities towards a common goal. The diversity of approaches pose specific challenges for documenting social practice work, as the aesthetic of human interaction changes rapidly and involves many people simultaneously. Consequently, images frequently fail to do justice to the engagement and interactions that take place during a project.”

I first became involved with Social Practice Art with the annual Arts Ability Art Sale and Exhibition at Bryn Mawr Rehab in Paoli. My late fiend, Arnie Segal, a disabled artist activist and sculptor encouraged me to enter my artwork and I have now been participating for ten years, the show is in it’s 23rd season. The qualities the organization embraces and promotes utilize the Plastic Elements of Social Practice to raise awareness, educate, promote, and reward artists and patrons for participating in an event with a particular agenda.

Social Practice Art, DoN Brewer

Sky Holes, DoN Brewer, photograph, Art Ability at Bryn Mawr Rehab

The show is expansive, known as the largest exhibition of it’s kind, in addition to the art exhibition the organization promotes artists outside of Bryn Mawr Rehab in spotlight shows, one of my photographs was juried into the show later was included in an exhibition at the Delaware Museum of Art. Two of my paintings are in the consignment collection, the installation has artwork shown at wheelchair height, and another painting was included in an exhibition at the West Collection where I was invited to speak about being a participating artist and the importance of showcasing art by people who live with disabilities. A few weeks ago I was invited to be a guest juror by the selection committee, we looked at nearly 1000 artworks, and voted based on the quality of the artwork and not the disability of the artist. The term Disabled Artist is an information rich meme, let’s unpack it.

What is a meme? With the advent of social media the term has taken on a meaning more closely related to jokes or puns but the origins of the idea of the meme is more scientific than simply entertaining.

The word meme originated with Richard Dawkins‘ 1976 book The Selfish Gene.  Dawkins wrote that evolution depended not on the particular chemical basis of genetics, but only on the existence of a self-replicating unit of transmission—in the case of biological evolution, the gene. For Dawkins, the meme exemplified another self-replicating unit with potential significance in explaining human behavior and cultural evolution. Although Dawkins invented the term ‘meme’ and developed meme theory, the possibility that ideas were subject to the same pressures of evolution as were biological attributes was discussed in Darwin’s time. T. H. Huxley claimed that ‘The struggle for existence holds as much in the intellectual as in the physical world. A theory is a species of thinking, and its right to exist is coextensive with its power of resisting extinction by its rivals.’

Dawkins used the term to refer to any cultural entity that an observer might consider a replicator. He hypothesized that one could view many cultural entities as replicators, and pointed to melodies, fashions and learned skills as examples.

The word itself is a replicator: me me. For example: the opening melody of Beethoven’s Fifth, mini-skirts, the Twist or Picasso. Each of these terms is loaded with data and information that explodes with cultural ideas that cascade and connect across diverse memories, beliefs, and experience. Mini-skirt provokes an era of time not just a garment, The Twist makes you think of swiveling your hips and dancing alone, Da Da Da Dum plays out in your head with full orchestra automatically.

Memes generally replicate through exposure to humans, who have evolved as efficient copiers of information and behavior. Because humans do not always copy memes perfectly, and because they may refine, combine or otherwise modify them with other memes to create new memes, they can change over time. Dawkins likened the process by which memes survive and change through the evolution of culture to the natural selection of genes in biological evolution.

Dawkins defined the meme as a unit of cultural transmission, or a unit of imitation and replication, but later definitions would vary. The lack of a consistent, rigorous, and precise understanding of what typically makes up one unit of cultural transmission remains a problem in debates about memetics. In contrast, the concept of genetics gained concrete evidence with the discovery of the biological functions of DNA. Meme transmission requires a physical medium, such as photons, sound waves, touch, taste, or smell because memes can be transmitted only through the senses.

Dawkins noted that in a society with culture a person need not have descendants to remain influential in the actions of individuals thousands of years after their death: “But if you contribute to the world’s culture, if you have a good idea…it may live on, intact, long after your genes have dissolved in the common pool. Socrates may or may not have a gene or two alive in the world today, as G.C. Williams has remarked, but who cares? The meme-complexes of Socrates, LeonardoCopernicus and Marconi are still going strong.” – Wikipedia

In the book Virus of the Mind by Richard Brodie, the author says, ““How about this one: you are simply a distinction—a meme—invented because it was convenient to talk about the parts of the universe that feel pain when hit with a hammer. To the universe, there’s no you . . . or human beings or giraffes or solar systems or galaxies. All those are human-invented distinctions. They are all memes.”

So what does the term Disabled Artist mean in a memetic sense? What is the image that appears in your mind that describes that person? What is the person like and what type of art do they make? What is the stereotype when you combine disability with art making? Does the term evoke empathy or skepticism? Through Art Ability I have met artists with various physical and mental problems from an entrepreneur named Gayle who describes herself as “a high functioning autistic”, a blind sculptor, mouth painters, photographers with traumatic brain injuries, people that literally can only move one finger. The term Disabled Artist incorporates so many categories of the human condition that it becomes jumbled and polarizing. I have participated in these shows because I have an incurable chronic autoimmune disease but I struggle with self identifying as disabled, even though I know I will probably never be able to hold a job for long, because it means I’ve given up hope. As a meme the term is like a fractal with spiraling threads of information each spooling out their data, each with a distinct set of their own plastic elements.

We can break down the context of the meaning of these words, terms and signs through semiotics.

Semiotics (also called semiotic studies) is the study of meaning-making, the study of sign process (semiosis) and meaningful communication. Semiotics includes the study of signs and sign processes, indication, designation, likeness, analogyallegorymetonymy, a figure of speech in which a thing or concept is referred to by the name of something closely associated with that thing or concept, metaphorsymbolism, signification, and communication.

The semiotic tradition explores the study of signs and symbols as a significant part of communications. Different from linguistics, semiotics also studies non-linguistic sign systems.

Pictorial semiotics is intimately connected to art history and theory. It goes beyond them both in at least one fundamental way, however. While art history has limited its visual analysis to a small number of pictures that qualify as “works of art”, pictorial semiotics focuses on the properties of pictures in a general sense, and on how the artistic conventions of images can be interpreted through pictorial codes. Pictorial codes are the way in which viewers of pictorial representations seem automatically to decipher the artistic conventions of images by being unconsciously familiar with them.”

Picture Idea- line light space color

Social Practice Art, The Ragdoll Project

The Ragdoll Project

Activism

“Activism consists of efforts to promote, impede, direct, or intervene in socialpoliticaleconomic, or environmental reform with the desire to make changes in society. Forms of activism range from writing letters to newspapers, petitioning elected officials, running or contributing to a political campaign, preferential patronage (or boycott) of businesses, and demonstrative forms of activism like ralliesstreet marchesstrikessit-ins, or hunger strikes.

Activism may be performed on a day-to-day basis in a wide variety of ways, including through the creation of art (artivism), computer hacking (hacktivism), or simply in how one chooses to spend their money (economic activism). For example, the refusal to buy clothes or other merchandise from a company as a protest against the exploitation of workers by that company could be considered an expression of activism. However, the most highly visible and impactful activism often comes in the form of collective action, in which numerous individuals coordinate an act of protest together in order to make a bigger impact. Collective action that is purposeful, organized, and sustained over a period of time becomes known as a social movement.

Historically, activists have used literature, including pamphlets, tracts, and books to disseminate their messages and attempt to persuade their readers of the justice of their cause. Research has now begun to explore how contemporary activist groups use social media to facilitate civic engagement and collective action combining politics with technology.” – Wikipedia

Liz Krick
Participating in Social Practice Art is being an activist whether as a participating artist or as a viewer. Showing up to support ideas, actions, artists is more than entertainment, it’s being involved and open to concepts about how to experience the world through the eyes of others.

by DoN Brewer

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Art in the Age of Van Gogh

Art in the Age of Van Gogh

The King of Prussia Mall was empty of shoppers on Thursday morning, quiet at opening time, the corridors of the iconic indoor shopping center are being refurbished, high-end logos on fancy facades line the cement paths that connect the big brand luxury stores, the scraped paint, plastic sheeting, and scuffed floor lent a dystopian Blade Runner vibe to the consumer-age hyper space. The bubble of public space outside of Lord and Taylor’s department store, an atrium, there is a pop up shop presented by the Van Gogh Museum in Amsterdam, a multimedia experience in a self-contained installation about, ostensibly, the greatest art of a favorite artist, Vincent Van Gogh. Creating a moment of museum-like time for mall walkers, with all the meta-magical memes attached to the artist’s name, and the simulacra experience of getting up close and personal with a real Van Gogh painting is like a fever dream so out of touch with reality it’s like winning the lottery.

DoN visited the Van Gogh Museum, a transformative and pivotal art and life lesson, the pop up shop is an exciting edu-tainment escape from the disappointingly drab consumerist landscape, with sleek colorful moody modern modules devoted to ‘famous’ artworks throughout eras of Vincent’s life with unrealistic intimacy and fantasy. Fashioning a futuristic attraction, contained in a full sensory surround installation, grasping the past, inducing  glamorous desires of owning a piece of greatness, through the suspension of disbelief, a Summer blockbuster about the famous art star Vincent Van Gogh. Through mechanical reproduction the gap in actual reality between authentic and authenticated is bridged with some wobbly architecture; Philadelphia has some great Van Gogh paintings that are easily accessible for study, you’re just not allowed to touch them, or take them home, you’re allowed to stay as long as you want, and looking at fine art is essential to living metropolitan life fully.

I told my pal Al, a friendly neighbor, about the Van Gogh pop up shop at the mall and he became very excited and declared, “I have two Van Goghs! And a Klimt. I love them.” DoN pointedly pointed out that reproductions, no matter how excellent, are not the same as the real thing! Al tried to mask his annoyance at DoN’s obvious corporeal differentiation of an art object and art: the elitist tangle of authenticity and provenance, false equivalencies, the eternal struggle of living artists, the branding of art in the age of mechanical reproduction, consumerist ideals pressed on creative content, and how to act in a museum setting for those with social anxiety about taste in art. Fully satisfied by his own artistic decisions and a teensy bit of distain for my snooty scholarliness, Al stated with defiant determination, “I like the colors.”

Art in the Age of Van Gogh

Aubrie Costello, Stay, Silk, chiffon, dressmaker pins, thread, 12” x 17”, 2017

Thursday evening was the reception party for Decorous, an art show curated by Amie Potsic Art Advisory at Space and Co., an installation of original artwork by three of her favorite artists in an amazing space, a fantastical set of rooms that are real, permanent, sturdy and highly decorative ornate meeting rooms. I appreciate how lucky I am to walk down 22nd Street to Walnut, the architecture and gardens, galleries and restaurants, homes and cars, feels urbane, being a part of this community is empowering and inspiring. There is a sense of history, of narrative and development of ideas in the view from the meeting rooms and the art guides the eye to linger on color and composition.

Large masterful casien monoprint photographs by Donald E. Camp shimmer with silvery reflected light, fabric and text, textile and tactile, fiber art by Aubrie Costello, and a fine selection of paintings, the colorfulness a perfect foil to the bold moulding, with luscious moments of contemplative carpenter artistry as the setting. The crowd included Philadelphia art influencers and entrepreneurs, artists, enthusiasts, academics, scholars, heady conversation about urban life, society and art filled the rooms noisily with conversation and laughter. Amie connects people with art, a Philly maven with a worldly reach and comprehensive experience in bringing art to life, and connects art to people.

Art is color; DoN has been drawing with Koh-i-noor multicolor pencils, filling a sketch book with drawings that have random color in the lines, figure studies and portraits, croquis and long poses, produced in workshops at The Plastic Club and The Philadelphia Sketch Club. But, Sunday, due to weather, Landscape Painters Philadelphia went indoors to draw. Did you know you can sketch and draw at Rodin Museum? We stayed about three hours and finally filled the last five pages of the sketchbook. It was really satisfying to see museum visitors access the sketchbooks and pencils the museum provides, they allowed us to bring in our own drawing supplies and let us make ourselves comfortable. The models are great! Our painting group has been meeting at the Tiberino Museum to paint figure in landscape plein air, Rodin’s activated poses are complex. Did you know The Kiss is a copy?

Art in the age of Van Gogh is a unique intersection in time between creativity, design and production, promotion, narrative, and story telling, and exquisite installation into the social landscape with a knowledgable society that has favorites and stars. Unlike the intersection in time of invention, the Industrial Revolution, coinciding with and influencing the Impressionists painters, like photography, film and mass production, in the early 20th century, now, in the early 21st century, the Information Age, we can have virtually anything imaginable and decide for ourselves if it’s real or not.

Art in the Age of Van Gogh

Pencil drawing by DoN

Link to Van Gogh Museum Pop Up Tour

Link to Decorous press release.

by DoN Brewer

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Look At Us, DVAA, Rosalind Bloom

Rosalind Bloom, White Faces, collage and text

Look At Us

Artworks by Da Vinci Art Alliance members:
– Rosalind Bloom: collage, transfer print and mixed media installation
– Sarah R. Bloom: photography and mixed media
– Colleen Gahrmann: ceramics, sculpture, mixed media and photographic installations
– Charlotte Schatz: drawings, prints and sculpture

Artist Reception: Sunday July 22nd, from 1-5pm, Artist Talks start at 2pm.

DVAA, the artist run gallery in South Philly, is hosting a group show by member artists exploring subject facts concerning painful, difficult, controversial social memes about race and discrimination. The collection of artwork addresses the theme with an experience design that is engaging, thought provoking, and beautiful; the gallery is arranged to create a flow between art forms, concepts, and compositions. A meme is a unit of cultural information that spreads like a virus from mind to mind; cultural ideas, biological and social anxieties, historic resonance, and deeply packed psychological concepts are transmitted with language, image, gesture and tone. Presenting an art exhibit with disturbing imagery challenges the artists to confront ideas with a plastic language of line, light, shape, and color; social practice connects the conceptual context to an inquiry through mark making, composition, and activity by the artist. Social Practice is an important art movement in the 21st Century, artists are addressing ideas that permeate society that feel too hard to look at, too big to wrap your head around, too ugly and mean that words are not enough to explain.

Artist Rosalind Bloom uses collage to process the unimaginably horrific actions of individuals with scraps, tears, and remnants of paper into bits of information, like tessera in a mosaic, depicting modern monsters and sociopaths as memetic subjects integrated into artwork. The randomness of found object and collage abstracts the visual and textual cues into deep empathic passages of consciousness; the edges of the idea integrated into all the other edges creating a network of concepts in a resonate, communicative unit of cultural information, a meme. Through color and texture, a pathway of thought pattern is coded into neural networks of experience, the dialog is enlivened with hue and tone, shapes overlap and merge into blobs of memory like pseudopodia, and units of information are embedded in mitochondria filaments of emotion and reaction.

 

Look At Us, DVAA

Sarah R. Bloom, photography, Colleen Gahrmann‘s installation

Within the structure of the meme is semiotics, words contain the codes to myth, memory, and self awareness; groupings of alphabetic symbols arranged in circles are informed with memetic patterns of the cultural penetration of the behavioral aberration of patriarchal entities on social fabric; myth is encoded to every fiber of information, each line expressive of experience, and illustrativeness embeds the word pictures into a coalescent narrative. The expressiveness of line and shape provides the superstructure of the concept, action and activity are the engine; line, shape, color, and light are the atomic center of communication.

Social Practice as a plastic tool in the artist’s palette is colored with nuance, liveness, immediacy, and viral transference of units of cultural information; the plane of communication vibrates with energies of a higher level, wave forms that ripple across generations, to be abstracted into objects of resonant fascination. Within the objects are found exquisite beauty, delicate and desirable, with a quality of values, disruptive to culture, engaging the community to communicate on a higher frequency.

Look At Us, DVAA

Charlotte Schatz, sculpture

LOOK AT US – an exhibition hosted @ DVAA in Gallery 1

704 Catherine Street, Philadelphia
July 6th – 29th

Artist Reception: Sunday July 22nd, from 1-5pm, Artist
Talks start at 2pm.

Artworks byDVAA members:
– Rosalind Bloom: collage, transfer print and mixed media installation
– Sarah R. Bloom: photography and mixed media
– Colleen Gahrmann: ceramics, sculpture, mixed media and photographic installations
– Charlotte Schatz: drawings, prints and sculpture

DVAA is proud to host Look at US, an exhibition of works by Rosalind Bloom, Sarah R. Bloom, Colleen Gahrmann, and Charlotte Schatz which critique American culture. This exhibition runs concurrently with the DVAA exhibition in Gallery 2, The City and The Sea.

LOOK AT US is an exhibition of work that addresses issues of contemporary American public concern, some of which are immensely and forwardly pervasive, others which are just as prevalent but often much more subtle. In sculpture, ceramics, mixed media collage, and photography, these artists acknowledge and examine their own privilege, thus opening a dialogue on issues such as gender inequality, social injustice, and the history of American racial tension. In the face of hatred and oppression we all need to own our own complicity.

DVAA thanks our 2018 exhibition sponsors DeFino Law Associates and Seed&Space!

by DoN Brewer

All photographs by Sarah R. Bloom.

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Rainbow

June 23, 2018

Margaret Gave me a Rainbow, 2:30pm 21 November, 1971, 1971, by Keith Smith, American, b. 1938. Collage of 3-M Color-in-Color photocopy transferred to buff-colored manila paper, gold star, multicolored thread, gelatin silver print, and rayon braid and tassels, hand and machine stitched to green plain weave cotton with gold rayon faille backing. Courtesy of Bruce […]

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Renoir Reconsidered

April 28, 2018

Two Young Girls, Pierre-Auguste Renoir, oil on canvas, 32 1/4 x 25 13/16 inches, 1892, Philadelphia Museum of Art Renoir Reconsidered: Plastic Analysis by DoN Brewer Two Young Girls is a vertical oil painting composed of a matrix of radiating lines, curving structural segments, twisted, intertwining, interlocking shapes, multicolorful compartmentalized color, and shimmering, glowing light […]

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Why Renoir?

April 5, 2018

Pierre-Auguste Renoir. Landscape (Paysage), c. 1917. Oil on canvas, 10 7/8 x 16 in. Why Renoir?   Why Renoir? A Conversation with William M. Perthes, Director of Adult Education Barnes-de Mazia Education and Outreach Program, The Barnes Foundation When: Sunday, April 15th, 2018, 2:00 – 4:00pm Where: The Plastic Club, 247 South Camac Street, Avenue of the […]

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Blasco de Grañén

December 18, 2017

Blasco de Grañén, Saint Catherine of Siena before Pope Gregory XI, A Guided Tour of Philadelphia in the Year 1430 by DoN Brewer Part three of A Guided Tour of Philadelphia in the Year 1430 stops at The Barnes Foundation at 20th and the Parkway, Blasco de Grañén, Saint Catherine of Siena before Pope Gregory XI, 1422–1459. Tempera with […]

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Jan van Eyck

December 18, 2017

Jan van Eyck, Saint Francis of Assisi Receiving the Stigmata,1430‑1432 A Guided Tour of Philadelphia in 1430 by DoN Brewer The second stop on our art tour of Philly in the Late Middle Ages is also at The Philadelphia Museum of Art, Jan van Eyck, Saint Francis of Assisi Receiving the Stigmata,1430‑1432. The Old Masters Now exhibition at […]

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