Thursday, October 25, 2012
Friday, October 12, 2012
Allison Schulnik
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| hobo cat family (mother cat) 2011 |
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| Blue head 2011 |
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| Girl With Animal 2008 |
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| Klaus #2 2009 |
Thursday, October 11, 2012
Craniology/Physiognomy/Eugenics
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| After Charles le Brun |
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| Charles le Brun |
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| Drawing comparing British with the Irish. 1866 |
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| Add caption |
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| Nazi Eugenic Chart |
Goya Part I
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| The Carnivorous Vulture |
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| De que mal morira? (Of What Ill Will He Die?) |
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| Nohubo remedio. (Nothing could be done about it) |
Thursday, October 4, 2012
Exquisite Corpses @ MOMA
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| Steve Gianakos. She Could Hardly Wait. 1996. |
Exquisite Corpses: Drawing and Disfiguration
March 14–July 9, 2012
The Paul J. Sachs Drawings Galleries, third floor
In a collaborative, chance-based drawing game known as the exquisite corpse, Surrealist artists subjected the human body to distortions and juxtapositions that resulted in fantastic composite figures. This exhibition considers how this and related practices—in which the body is dismembered or reassembled, swollen or multiplied, propped with prosthetics or fused with nature and the machine—have recurred in art throughout the 20th century and to the present day. Artists from André Masson and Joan Miró to Louise Bourgeois and Robert Gober to Mark Manders and Nicola Tyson have distorted and disoriented our most familiar of referents, playing out personal, cultural, or social anxieties and desires on unwitting anatomies. If art history reveals an unending impulse to render the human figure as a symbol of potential perfection and a system of primary organization, these works show that artists have just as persistently been driven to disfigure the body.
Tuesday, October 2, 2012
Rose Wylie @ UArts
Rose Wylie
Oct 2—Nov 20 2012
Rosenwald-Wolf Gallery
"Lawn Tennis" by Rose Wylie, 1999, oil on canvas
Rose Wylie is an English septuagenarian painter whose theatrical and expressionist canvases have recently gained critical acclaim. Wylie often takes ideas from recent film stills and art history and has been influenced by artists as diverse as Philip Guston and Jean-Michel Basquiat. She was selected to represent the United Kingdom at the National Museum of Women in the Arts, Washington, D.C., exhibition "Women to Watch 2010."
Recent exhibitions: Thomas Erben, NY (2010); Timothy Taylor, London (2010); Turner Contemporary Open, U.K. (2009); Kate Mac Garry, London (2008); Transition Gallery, London (2008); EAST International, Norwich Gallery, Norwich (2007).
Recent solo exhibitions include Michael Janssen Berlin (2011) and Regina, Moscow (2012). Wylie is represented in the U.S. by Thomas Erben Gallery and in London by Union Gallery.
Anderson Hall
313 South Broad Street
Philadelphia, PA 19102
United States
Eileen Neff @ Bridgette Mayer
Eileen Neff, Blue 1 and Blue 2 (installation shot), 2012. C-Prints on Plexi, 51 x 76 1/2 inches each.
Eileen Neff
Three or Four Clouds
October 3–27, 2012
Opening: Friday October 5, 6–8:30pm
Opening: Friday October 5, 6–8:30pm
Bridgette Mayer Gallery
709 Walnut Street
Philadelphia, PA 19106
709 Walnut Street
Philadelphia, PA 19106
The Bridgette Mayer Gallery is pleased to announce its first solo exhibition of work by artist Eileen Neff. Three or Four Clouds will be on view from October 3–27, 2012 with an opening reception Friday October 5th from 6–8:30pm. The exhibition will feature Neff’s new photographs. There will be a catalogue available for the exhibition featuring an essay by Helen Westgeest.
Three or Four Clouds marks Eileen Neff’s inaugural exhibition with the Bridgette Mayer Gallery. As an expression of her interest in both the landscape and interiors as sites for her deeper investigations of presence and perception, Eileen Neff’s Three or Four Clouds brings focus to the conflating of her experiences in the studio with those conditions at work in the gallery. Her fascination with installation concerns also informs and refines her photographic decisions within this new body of images. With these works, the studio has become a vantage point, as well as the place of heightened attention Neff so values. She lives and works on the 29th floor of a Philadelphia apartment building in a space as carefully composed as her work itself. Neff has, for this occasion, used this aerie-like perspective as the primary source of what is her most diaristic work to date. From her studio she sees clouds pass, birds visit, and she reflects upon the play and beauty of natural light. Neff’s work captures, in alternate turns, the poetic and the sublime. The artist uses the strategies of her photographic practice to transform her daily pleasures into the work for this exhibition.
Eileen Neff received her BA in English Literature from Temple University, BFA in Painting from Philadelphia College of Art and her MFA in Painting from Tyler School of Art. Recent solo shows include Locks Gallery in Philadelphia, The Royal Hibernian Academy, Dublin Ireland, The Institute of Contemporary Art, Philadelphia, among others. Neff lives and works in Philadelphia. Her work is held in many important institutions and private collections including the Philadelphia Museum of Art, Pew Charitable Trusts, The Fabric Workshop and Museum and The Dietrich Foundation among many others.
Gallery hours are Tuesday–Saturday 10–6pm & by appointment. For additional information please contact Bridgette Mayer at T 215-413-8893 / F 215-413-2283 or email at bmayer@bridgette.mayergallery.com.
Alexis Granwell @ TSA
Alexis Granwell: Lean To
October 5 - October 28, 2012
Opening Reception: Friday, October 5, 2012, 6pm - 10pm
PHILADELPHIA‐
Tiger Strikes Asteroid is pleased to announce the opening of our October exhibition, Alexis Granwell: Lean To. Granwell, a founding TSA member, will be presenting sculptures and monumental prints made during a summer residency at one of the only ten foot-presses in the country, at AS220 in Providence. A recent video interview conducted in Granwell’s studio can be found on the website Gorky’s Granddaughter.
From the essay by Lauren van Haaften-Schick:
The ruin is a site of decay and remembrance – the armature that allows us to imagine life in a past or parallel time. Thus the ruin is always destroyed and re-creating itself in our individual psyches and collective culture. When archaeologists uncover a historic site, their first order of operation is to photograph every detail using black and white film, so that in the event that digital or advanced photographic technologies are not available, the images will be legible through the elementary act of holding the processed film to the sun. This is a logic appropriately developed by those who specialize in the lost, destroyed, discarded, decayed, and forgotten. It is crucial that these disinterested images capture the site as it was found, untouched and unexamined, revealing only fragmentary evidence; all that is seen is what lies at the surface, and the new skin that has come to envelop it. Clues are numbered, collected, classified, or their identity may be left unsolved. Sometimes additional pieces of the puzzle emerge, further illustrating the fiction and conjecture that has developed around this curious trove. It is typical that a complete history never emerges.
The works in Lean To depict metaphysical structures that have an ancient quality. They are beginnings, an infrastructure leading to the next complete event. Working concurrently on both sculptures and prints, Granwell has a developed a provisional city of two and three-dimensional imagery that convulsively expands, erases, and erupts.
Alexis Granwell: Lean To
Tiger Strikes Asteroid
Tiger Strikes Asteroid
October 5 – October 28, 2012
Opening Reception: Friday, October 5, 6-10pm
Opening Reception: Friday, October 5, 6-10pm
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