Doomsday, Plays and Players Art Gallery

Alex Mosoeanu, Moment of Inspiration, metallic Sumi-e ink, metallic markers and colored pencils on drawing paper, 2016

Dooms Day, Group Art Show, Plays and Players Art Gallery

Interview with Dooms Day curator Alex Mosoeanu:

“We’re in the Plays and Players Theater in the lower lobby are in the Plays and Players Art Gallery. We are having our first group show here with over fourteen pieces with nine artists; we’re very excited to have them, and they’re all local Philadelphia artists.”

Doomsday, Plays and Players Art Gallery

Katherine Roll, Playing with Survival, mixed media assemblage

The art show is called Dooms Day?

“The show is called Dooms Day, we’re basing the exhibition off the play Early One Evening at the Rainbow Bar and Grille. The play is about a group of friends who are talking about their last day on Earth. As a curator, we wanted to really think about what the space is going to have in relation to the play. So, we provided a few art pieces that have to do with, you know, either death, or emotion that would have to do with your last day. How would you see that? We asked our artists,’You have one day left, what would you do?’ Through their art pieces they answered those questions.”

Doomsday, Plays and Players Art Gallery

Seamus Tyler, My Invisible Identity\\Front Page Tragedy, linoleum and acrylic

I just heard an interview on PBS Newshour with a hospice counselor. She said a lot of people ask her, ‘What are the last words most people use?’ Her response was, ‘If you have last words, you should say them now’. Because on your death bed you may not be awake, you may be drugged, so if you have something to say, you should say it. So, what would your last words be?

“Oh, wow. That’s a hard one. Definitely. This World is definitely crazy, I’ve tried my best to come to a conclusion of some sort of understanding. Every day I’ve always pushed myself as if it’s my last, definitely. If I had any last words to my loved ones I would say, ‘You know, I love you so much. Thank you so much for all your help in everything I’ve done. I appreciate you. Whatever is left to come, it doesn’t matter, we’ve spent our time together, and that’s all that matters’.”

Doomsday, Plays and Players Art Gallery

Alexander Shanks, Bone Dry

That’s so sweet, you’re going to make me cry.

“That’s OK. We’re all going to die, might as well not scream about it, or be scared.”

It’s nice that you reached out to people.

“Yeah. You should always be nice to people that you love, even the assholes.”

Doomsday, Plays and Players Art Gallery

Alexander Trosko, Starving Artist

So, tell me how you selected the artists?

“I picked the artists based off of, because it’s our first show, I really picked the artists off of who was making artwork that I knew, for sure, would go in the show. And, so, those were my closest friends, but, that’s not to say in the future we’re not trying to have other artists that I do not know. We’re always looking to expand as a gallery, this is our first group show. I chose the artists based off of who I knew immediately would definitely be able to have their work in a crunch for time. But, this is our first show.”

Doomsday, Plays and Players Art Gallery

Doomsday, Plays and Players Art Gallery

Jason Justice, Untitled, oil on linen

This is a great space. How did you hook up with Plays and Players?

“Well, I’m just cool like that. But, um, you know, it just happens. You meet people, they’re interested in your work and they just want to support you. Show them what you’re able to do and how you really want to bring people in , and they’re really excited about that, so, that’s kind of how we got this thing started.”

Doomsday, Plays and Players Art Gallery

Caitlin Tschanz, Rise, acetate, acrylic and graphite on panel

A couple of the artists I talked to are from Moore College of Art. Are you an alum?

“Yeah, of course. We tried to grab mostly Moore students, that’s where I knew most of my artists and they’re always making real quality work, so we went to Moore for our artists, but, we’re always looking to expand, too. It’s not just Moore.”

Doomsday, Plays and Players Art Gallery

Sara Cocchi, Law of Conservation, mixed media

That’s good. I’m always proud of Moore students, I get invited to the Senior shows and the fine art department there is amazing. The competition is tough, right? You don’t get in for no reason, you have to be good.

“I agree. You have to be good at something, you have to have a message, or at least show that you’re willing to push yourself to find your message, But, I always knew I had to do art.”

Doomsday, Plays and Players Art Gallery

Matthew Vacante, Into the Light, digital photography

I think it’s great to be in school and know that you’re surrounded by good artists.

“It only makes your art better. You need people that can be your competition so that friends, not somebody that you would look down on. You want people to bring you up on board when they know what they’re doing.”

I’ve been going to the Moore Senior shows since about 2012 and I make new friends every year.

“Moore has some really fabulous people that come there, it’s always a great community.”

Doomsday, Plays and Players Art Gallery

Alex MosoeanuThe Keeper’s Secret, Her Infinite Grace 

Last question. Today was the Women’s March. On the way here there were crowds of people in the street from the protests. Do you have any comments?

“I wish I could be there! Oh, my goodness! Unfortunately, I’m having this opening right on the day there are marches, but, I support all the women that are going out there to support us, Especially, as a woman curator, I know that that there’s not many of us, but, it’s very important to push women artists, I have mostly women artists in the show.

So, to all of them, especially those marching in DC, we’re happy about that, we’re in difficult times right now so we need all support we can possibly get. Please come check out the space, we’re always looking to have political and socially active work. We’re not just making pretty art, we’re looking to make a message.”

Doomsday, Plays and Players Art Gallery

Matthew Vacante, digital photography

Dooms Day through February 17th, 2017

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Plays and Players Theater1714 Delancey Place, Philadelphia PA, 19103

Written by DoN Brewer

Photographs by Jimmi Shrode

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How Do I Look? DVAA

Eppchez! Abstract Packer #1 Eye Bulge #2 Big Queer Ice Cream #3 Pocket Rocket, foam and fabric, 1st Prize, How Do I Look?

How do I Look? Shifting Representations of Queer Identities, Da Vinci Art Alliance

by DoN Brewer

Queer is a difficult word for me to use as a signifier; when I was a teenager my Mom would sometimes say I looked queer when I went to school. I didn’t know it was a gay slur, or that she was concerned for me because of the way I liked to dress. In the 60s I grew my hair long, wore bell-bottom jeans and idolized Rock Gods like Jim Morrison and Robert Plant. Rock music was the soundtrack of my life but actually I was obsessed with the bulge in their jeans. By the time I graduated from high school the Gay Rights movement had begun in earnest; after Dr. Martin Luther King came to Philly there was a gay rights protest outside of Little Pete’s Diner on 17th St. because of the cops harassing drag queens and later a grand march of hundreds of gay people that started in Rittenhouse Square, marching proudly down Walnut Street, ending at Independence Mall. And then the Stone Wall riots caught the nation’s attention like a queen in daytime drag.

How Do I Look? DVAA

Stiofan O’Ceallaigh, Decisions Decisions, photo collage

Young people today don’t know about the ‘pretty police’, cops in tight white jeans, who would hang by the urinals at The Allegro nightclub on Spruce Street and then bust someone for cruising them. Punishment could range from your name being printed in the paper to being beat up and thrown in the Schuykill River. The word ‘gay’ had a rough start, too, with jokes and insults attached but the label has maintained it’s significance. Righteous religious zealots used the radio to bash the gay civil rights movement and TV always portrayed gays as nelly queens with lisps and limp wrists.

The Declassification of Homosexuality by the American Psychiatric Association happened in 1973, before that being gay was considered a mental illness. Words like degenerate, sodomite, pervert, pederast, faggot, dyke and queer were used to define gay behavior, yet still there was a vibrant homosexual community in cities across the world. In 1890, Émile Zola‘s book Nana described the goings-on in the balconies of the Théâtre des Variétés. In the early 1900’s artist Charles Demuth was introduced to the avant-garde and fellow artist Marsden Hartley, both artists portrayed gay life in house parties, bath houses, alley sex and masculine images of gay men. Their art is now part of the pantheon of New American Modernism in painting.

How Do I Look? DVAA

Thom Duffy Fine Art, Dion, oils

Art has documented homosexuality as far back as the ancient Greeks, yet terms like ‘queer’ are still used to insult, harass and malign people for being the way they were born. The show at Da Vinci Art Alliance, How do I Look? Shifting Representations of Queer Identities, reclaims the word with a sublime exhibition of art and language describing the modern state of gay identity.

How do I Look? Shifting Representations of Queer Identities
Exhibit runs through Sunday, January 29, 2017
Da Vinci Art Alliance Gallery Hours: Wednesday, 6:00 – 8:00pm; Saturday + Sunday, 1:00 – 5:00pm

Juror: Craig Bruns, artist and Chief Curator at the Independence Seaport Museum

ArtistsAaron Kalinay, Alden ColeBennet ShipmanCatriona GunnCorliss CavalieriDavid Meade WalkerDevon ReifferEbony Malaika CollierEppchez!Gabriel MartinezGeorge ApotsosJoseph Arnold, Kevin BroadSantiago GaleasStiofan O’CeallaighSusan DiPronioThom DuffyThomas Sonnenberg, Willard Johnson

How Do I Look? DVAA

Devon Reiffer, Bound to Barbasol, charcoal, 2nd Prize, How Do I Look?

Devon Reiffer and I first met at her PAFA student exhibition in 2014; large scale charcoal drawings revealing lesbian and homosexual identity stood out from the rest of her class. Bound to Barbisol describes the rituals to subdue femininity and heighten secondary masculine traits in female to male trans-sexual with a strong narrative and perspective that captivated the gallery goers. Revealing secrets, the drawing is daringly feminist of the artist in the mundane ritual of gender expressionism, a term which refers to the ways in which we each manifest masculinity or femininity.

How Do I Look? DVAA

Joe Arnold, Phil, photograph, How Do I Look?

In the 21st Century gay people now can search each other out through smart phone apps. Personal ads in The Philadelphia Gay News are gone and replaced with Craig’s List ads. In the 1960’s Drum Magazine publisher Clark Pollack was arrested for sending obscene materials across state lines even though the erotica is tame by today’s standards; it was the concept of gay people hooking up that was obscene. Now, not only can one locate a desirable sex partner but can determine exactly how far away they are before meeting. App developers become rich, their inventions downloadable from the libraries of giant corporations. Artist Joe Arnold experimented with gay dating apps for his photography by inviting users to pose for him in their homes. Phil is frank in it’s lurid decor, but the character study reveals an air of detachment to the sexuality in the age of Truvada, PrEP and sexual consumerism.

How Do I Look? DVAA

Aaron Kalinay, The Mean Reds Not The Blues, watercolor and acrylic, 3rd Prize

Curator and Juror Craig Burns, in his remarks following the award ceremony, reminded the younger members of the crowd gathered to celebrate the exhibition that many people before them fought for their rights to be out of the closet. But the fight isn’t over; the passing of same sex marriage laws only makes gay people acceptable to a hetero-normative culture. To be queer means that accepting the status quo is not enough to satisfy the desire for self actualization and may make the majority squeamish in the pursuit of happiness. Just today, January 20th, 2017, the new Republican administration removed the LGBT page from the White House website.

We’re Here. We’re Queer. Get Used to It.

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Written and photographed by DoN Brewer

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Alonzo Troy Humphrey

Chief Teefie, marker on Strathmore paper, 24″ x 24″, Alonzo Troy Humphrey


Alonzo Troy Humphrey, 12th Annual Juried Art Show and Sale at Off the Wall Gallery at Dirty Frank’s

Today I really screwed up at work. I told my art partner I’d have the money, I knew where the money was but I had spoken too soon. My boss says if it’s not going to have an impact in five years, don’t worry about it; the adrenaline rush is a trip, though. My art partner, Alonzo Troy Humphrey, is creating images in a stream of consciousness, to interrupt with mere monetary concerns while he draws stories of Chattanooga, Philly and Africa in sweeping lines from a sharpie marker is counter-productive. Alonzo is well known for his marker drawings of thoughtful memories and cultural metaphors. Going into Alfred Pennyworth mode, I contacted the guy at the place with the money and we all synchronized our our watches for the ritual business exchange of culture for commerce.

The place with the money is Off the Wall Gallery at Dirty Frank’s, and the man is Togo Travalia. Wearing a grey suit and melon hued tie, Togo met Alonzo Troy Humphrey, along with Katy the Art Dog and I, at the 12th Annual Juried Art Show and Sale on the corner of 13th and Pine Streets on a chilly afternoon the day before Thanksgiving. The famous dive bar has hosted art shows since 1978, the juried art shows and special exhibitions are inevitably mind blowing. And Alonzo’s mind was blown with the show. The place wasn’t crowded except for a few day drinkers so we could really see the exhibition of 44 outstanding works, and Alonzo’s art really pops in the heady mix. Both of his entries had sold and he won the juries #BlackLinesMatter award, a topical pun with real world relevance, the exchange between artist and gallery manager went down in the booth by the vitrine in the corner.

alonzo1

Miss Timma, marker on card stock, 11″ x 8.5″, Alonzo Troy Humphrey

Togo, the business man, thanked Alonzo so sincerely for his participation in the show and told him how proud he was of his accomplishments I was moved to tears; Alonzo has been exhibiting and selling at Dirty Frank’s for over five years. Explaining how by creating, making, marking and participating, his art was contributing to the community at large, Togo encouraged Alonzo to continue his pursuit. Alonzo told Togo about a new drawing he’s working on about boxers duking it out in the ring. The drawing of Chief Teefie sold before the show was even hung and Miss Timma sold the first day. The Under $100 theme offers a unique opportunity to purchase art by Philadelphia artists that is affordable and professionally curated. Full disclosure, not only am I Alonzo’s art partner, I participated in the jury.

Before you freak out, this practice is not uncommon since the juries are usually made up of artists and entrepreneurs who have participated in Philly arts, no deference was given to Alonzo’s work, my influence on the jury was literally one of five votes. Two of his three entries survived the cut from 175 artworks vying for some of the available 45 spots. The elimination process is simple, five jurors vote on each entry, majority rules. When a participants work is reviewed they leave the room and Togo or Jody add their voice. This winnows out the most popular pieces as voted on by a group of contemporaries attuned to the Philadelphia art scene. The process takes hours and each piece is considered carefully and fairly. Being included in the jury is such an honor, the team at Off the Wall Gallery at Dirty Frank’s assembled a group of Philly’s art influencers, social practitioners and artists to create an art show that is beautiful and inspiring.

Since I had already entered the show before I was asked to be on the jury I felt comfortable that my prejudice for Alonzo’s art would be balanced, although, I must say that Alonzo Troy Humphrey is a unique and special voice in the art conversation of Philly that deserves to be heard. He’s been participating in art shows for years, his drawings speak in a language of marks that leave a trail of time, whether it’s a swift sure handed swipe with the marker, or deep layers of ink driven through liminal space into the paper until the surface nearly shreds and the markers are worn to nubs. As the shadow lines grow, his images of the solitary woman on the porch in a rocker, the homeless man, the black cowboy, the African chieftains by the sea emerge with liveness from the lines then over time fade to black. Humphrey’s drawings are about telling a story in symbols, signs and metaphors; moments in time expose episodes in the artists life that are serene, poignant and exciting.

Written and photographed by DoN Brewer

Off the Wall Gallery at Dirty Frank’s 12th Annual Juried Art Show and Sale through December 26th, 2016.

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CORRESPONDENCIA, Community Futures Lab

#CORRESPONDENCIA, Community Futures LabLuz Elvira Torres, México

#CORRESPONDENCIA at Community Futures Lab

Alien Architect, Cohen Asher reached out to me through social media to attend a pop-up event at Community Futures Lab, 22nd & Ridge Ave. The thing was I had my own event, a large group show of the Photographic Society of Philadelphia at The Plastic Club, that Sunday afternoon and I wasn’t sure I would have the energy to go. But, he showed up at The Plastic Club with his guest from Mexico City, artist Rebeca Martell, in town, and I had the pleasure of describing the history of the artist run gallery/studio to her. Rebeca expressed her admiration of the long history of the art club and it felt special to introduce an international woman artist to the space. Cohen Asher, like an alien architect, is so ebullient and full of vibrant energy, and love, I knew I’d spring for an Uber ride to Sharwood.

Both Cohen and Rebeca produce Social Practice art events, the #CORRESPONDENCE started at 5:00, but since the duo visited me downtown the show was still in the process of being popped up when I arrived. Being the pushy snoop, I let myself into the gallery space and sat on the floor while Rebeca installed the group show of international artists. Photographs were aligned along a light box, watercolors and prints arranged informally, a relaxed installation of artworks to entertain and inform the viewers. We talked about being an artist in Mexico City, with a population of twenty two million people, and how funding for grants is controlled by the government. Creating social practice events that expose inequity and spotlight social disinformation through art is not going to win grants. It does however create a spirit of community that transcends doctrine and dogma.

Community Futures Lab is a store front space that brings together artists and thought leaders in the community of Sharwood. Being on Ridge Ave. reminded me of when the housing bubble popped and artists were asked to install galleries in the empty stores along the once bustling South Street. It seems to me that artists rise to the challenge time and again to raise awareness, energize spaces and communities, inspire the neighbors and bring together people to promote quality of life. Being part of a global community by being involved in the arts is inspiring and transcends speech and language with visual code, color and narrative that some don’t understand. Those that ‘don’t get’ art still benefit even if they don’t consciously realize it, believe in art’s value or understand why it works so well.

#CORRESPONDENCE

The universe of art connects along an ocean of dots. Each dot is a workstation, where a mind takes brushes or chisels to trace the vortex where the shape, texture and color are aligned within an idea.

Correspondence, Community Futures Lab

#CORRESPONDENCIA, Community Futures LabRobert Weissenbacher, watercolor, Germany, and Olivia Eliash, Chile

Each station fulfills its part in the concert of symbols. Each symbol has its pair in another mind, each bet resonates in many others, choral singing aesthetic, adding tunes, basting the syntax in which the iconographic manifesto of a time is recorded.
The artist is immersed in an inner search of that sign to consider the transferable moment of its uniqueness, correspondence waits in some other unexpected point in the universe of the creators.
A small town in deep Hungary, joins some of those dots generating unexpected correspondences, here’s a symbolic tribute to those open doors.

Correspondence, Community Futures Lab

#CORRESPONDENCIA, Community Futures LabDevin Cohen Asher, Alien ArchitectEstados Unidos, paintings

El artista se sumerje en una búsqueda interior de esa insignia que considere el momento intransferible de su singularidad, la correspondencia aguarda en algún otro punto insospechado del universo de los creadores.
Un pequeño pueblo en Hungría profunda, une algunos puntos generando correspondencias inesperadas, he aquí un homenaje simbólico a esas puertas abiertas.

CORRESPONDENCIA, Community Futures Lab

#CORRESPONDENCIA, Community Futures LabFiczek Ferenc, Hungría

Olivia Eliash, Chile
Luz Elvira Torres, México
Gerardo Nolasco Magaña, México
Robert Weissenbacher, Robert Weissenbacher – Kunst Alemania, Germany
Ficzek Ferenc, Hungría
Devin Cohen Asher, Alien Architect / Cohen Asher Estados Unidos
Rebeca Martell, México

CORRESPONDENCIA, Community Futures Lab

#CORRESPONDENCIA, Community Futures LabFiczek Ferenc, Hungría

Rebeca Martell (MX), who earlier this year exhibited her incredible solo exhibition “Always Somewhere” in Fototeca Juan C. Méndez on June 2nd in Puebla, Mexico, is currently engaged in documenting cultures as she works as freelance photographer and international correspondent for music magazines. Rebeca Martell, along with Devin Asher Cohen (also known as Alien Architect or Cohen Asher) have a gallery named Liliput in Puebla, Mexico which has an amazing artist residency.

Correspondence is a touring international contemporary collective group art exhibition. All of the artists’ who’s pieces are in Correspondence met in Hungary. Thus far the exhibition was first in Puebla, Mexico at Liliput September 3rd, 2016. Then traveled here to Philadelphia’s Community Futures Lab October 2nd, 2016. And soon travels to the upcoming exhibition spaces, which shall be announced soon.” – Cohen Asher

CORRESPONDENCIA, Community Futures Lab

#CORRESPONDENCIA, Community Futures LabLuz Elvira Torres, México

“Community Futurisms: Time & Memory in North Philly” is a social practice, collaborative art, and ethnographic research project exploring oral histories, memories, alternative temporalities, and futures within the North Philadelphia neighborhood known as Sharswood/Blumberg. The area is currently undergoing a major redevelopment project after years of deep poverty, educational inequality, and high crime. “Community Futurisms” will document the redevelopment of Sharswood/Blumberg, through an multidisciplinary community art project that explores the intersections of futurism, literature, visual remixing, sound, and activism as art.

The goal of the Community Futures Lab is to collect, preserve, and share the Sharswood-Blumberg community’s memories and stories for future generations. We are looking for anyone who has ever lived in the neighborhood, and people who still live in the neighborhood and surrounding areas.

A project of The AfroFuturist Affair/Black Quantum Futurism Collective, supported in large part by A Blade of Grass
http://www.abladeofgrass.org/fellow/black-quantum-futurism/
BQF Collective is inspired by afrofuturism, quantum physics, and african traditions of spatial-temporal consciousness. They weave science fiction realities with african concepts of time, ritual and sound to present innovative works that offer practical ways to escape time loops, oppression vortexes and the digital matrix.

This project is not affiliated with the Philadelphia Housing Authority or the City of Philadelphia

For more info, please contact: ab@gmail.com

CORRESPONDENCIA, Community Futures Lab

Philadelphia’s volunteerism is extraordinary, authentic curiosity and experimentation has always been the blood that runs through the heart of the art scene. Philly is that rare city with rival art schools, rival art clubs, rival artist studios and a multitude of opportunities to show art in bars, coffee houses, restaurants… City Hall even has an art gallery. Philadelphia is a great place to make art happen.

Social practice is an art medium that focuses on social engagement, inviting collaboration with individuals, communities, and institutions in the creation of participatory art.” – Wikipedia

Written, photographed and SEO by DoN except where noted.

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Sachs Collection, Gerhard Richter

Gerhard Richter, Piz Lagrev1995, oil on canvas. Promised gift of Keith L. and Katherine Sachs.

Embracing the Contemporary, Sachs Collection at Philadelphia Museum of Art

DoN confessed his love of Gerhard Richter to Katherine Sachs, sharing how being a Richter apologist for some folks can be difficult. I asked her, as a collector, if she gets that kind of push back from friends?

“Not with Richter, not as much, I mean there are a lot of other artists you get push back.”

Like Cy Twombly?

“That’s a good one.” We both cracked up laughing. “Sometimes it takes a learned response. But Richter’s are unbelievably wonderful; if you know about the process and the way he makes it, it makes sense. And if you also understand where it all comes from, people realize that it’s actually based in reality. Then they have a better understanding. It’s kind of an abstract photographic take on reality.”

I think that a lot of people don’t realize that these are all pre-computer. It’s not photoshopped.

“Yes. It’s a combination of the way the artist sees the subject and that, sometimes, it’s what he does with it. Whatever medium it is that he uses.”

It’s all about the medium.

Embracing the Contemporary: The Keith L. and Katherine Sachs Collection at Philadelphia Museum of Art

Through September 5, 2016, Dorrance Galleries and The Keith L. and Katherine Sachs Galleries, Philadelphia Museum of Art

“Embracing the Contemporary celebrates the remarkable collection of Keith L. and Katherine Sachs and their transformative gift of nearly one hundred works to the Philadelphia Museum of Art in 2013. The Sachs Collection is one of the finest private collections of contemporary art in the United States and is presented publicly here for the first time.” – Philadelphia Museum of Art

#EmbracingtheContemporary

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

Written by DoN Brewer. (except where noted)

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Reality

June 30, 2016

Lilliana Didovic, Written Walls, acrylic on canvas, 24″ x 30″, Main Line Art Center Perceptions of Reality and Dreams, Lilliana Didovic, Main Line Art Center In the land of gods and monsters is a secret place that only the believers can go. If you suspend imagination and ride the gravity waves, the world is beautiful in […]

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Being

June 17, 2016

Artspace 1241, Stella Untalan, ink drawing Artspace 1241, Brian David Dennis, Lesley Tao Mowat, Stella Untalan: Being in the Woods Being in the Woods unites Stella Untalan‘s ink drawings and Brian David Dennis‘ large cardboard construction titled, [bar], in a meta-magical art installation vibrating with the rhythms of the universe and nature. Minimalist drawings using walnut ink and […]

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Alaska

May 26, 2016

Alaska Thunderfuck 5000 from the Planet Glamtron Alaska Thunderfuck, Haus of Ham at Kung Fu Necktie To say that I’m totally fan-girling over going to see Alaska Friday night is an understatement. I am obsessed. I wrote about her video Your Makeup is Terrible back in 2014 as the #2 video of the year. Since […]

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Momentum

May 10, 2016

Tilda Mann, Wave (Paradise Cove), oil on paper mounted on wood, Creating Momentum, Cerulean Arts Gallery Studio Creating Momentum, Cerulean Arts Gallery Studio At a recent award ceremony, where I was one of the photographers, I overheard a comment from a voice behind me. The man said to his companion, “I miss those days when […]

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Farben

April 30, 2016

180 Farben (180 Colors), Gerhard Richter, Philadelphia Museum of Art 180 Farben (180 Colors) While studying at the University of the Arts, one of my writing assignments was to sit and stare at one painting for an hour, take notes and write an essay.180 Farben (180 Colors) is included in the sensational International Pop exhibition at […]

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