10.21.2014

Lydia Rosenberg (MFA'15) and Gordon Stillman (MFA'14) featured in Drainmag.com



Click on the links provided and check out the work and the magazine!

Lydia Rosenberg


Imprecision after A.G. (detail), 2013, Paper pulp, 
plaster, graphite, steel. 20 x 4 x 47 inches.

Gordon Stillman

untitled, 2013, Digital photograph.

10.20.2014

HARD TO PLEASE - Chiara No (MFA '15) in group show at Little Berlin - OPENS November 7 6-10pm



Hard to Please
November 7- November 29, 2014
at
Little Berlin
2430 Coral Street, Philadelphia, PA

Opening Reception: November 7th - 6-10pm

Curator: Maddie Hewitt

Performance by BAIT with choreography by Kate Speidel - 8-9pm

Selected artist include: BAIT Stephanie Buresese, WIll Owen, Ga Hee Park, Chiara No,Dani Frid Rossi, Caity Shaffer and Alexander Stewart

 

Chiara No, Crowning (Queenie)Marker on acid dyed canvas, 
cement, cinderblock and galvanize steel post, 2014, 80” x 90”

Hard To Please features artwork exploring relationship power struggles and their contribution to the culture of violence as a result of conflicting mutual desires. The exhibit addresses our human tendency to desire what other people desire, imitate others in order to achieve those desires, and react towards other people taking the things we desire.

The exhibit includes photography, video, painting, collage, performance, a short story and three-course meal by artists living and working in Philadelphia, New York, Chicago and Austin. Each work centers around a relationship dynamic where two or more people--competing athletes, coworkers, romantic partners, a mother and her child, and so on--rival for sole possession of something. Rather than establishing who wins or loses a conflict, the exhibit chooses relationships where the power dynamic is ambiguous.

Based on philosopher Rene Girard’s theory of Mimetic Desire, Girard suggests that all of our desires are borrowed from other people. The word “mimetic” can be directly translated into “using imitative means of representation”. Girard considers mimetic desire--learning to desire what other people desire--to be the origin of a type of conflict that focuses on the destruction of a rival. His theory explains our competitive and envious behavior, which can escalate into physical violence.

Hard To Please is presented in Little Berlin's main gallery from November 7, 2014 - November 29, 2014 with an opening reception on First Friday, November 7 from 6-10PMThere is also an event in conjunction with the exhibit where New York-based artist, Will Owen concludes his time-based plant piece by cooking a three-course meal and serving it in Little Berlin's main gallery. Free and open to the public, the event takes place November 22, 2014 at 8PM.

Gallery Open Hours: 
Saturday 12-5pm and during special events including our MONDAZE events every Monday evening at 7pm. Also open by appointment via contacting berlin.little@gmail.com









PLOT - New work by James Howzell and Lydia Rosenberg (Both MFA '15)

Opening Reception 
October 31st 6-8pm
at the
Physical Lab, Morgan Building
205 S. 34th St
Philadelphia, PA


10.07.2014

Mohammadreza Mirzaei (MFA '14) has a solo show at Tehran's No.6 Gallery

New Photographs / Mohammadreza Mirzaei 
No. 6 Gallery
Ground Floor, No.2, 20th St., Mirza Shirazi St.
Opening: Friday 10th October 2014, 4-8 pm
The show continues until 20th October 2014.


10.01.2014

Natessa Amin (MFA'15) curates show at FJORD in Philadelphia with current and past UPenn MFA students! - OPENS this Friday, Oct 3 7-10pm

Blind Handshake
Curated by Natessa Amin

FJORD is pleased to present Blind Handshake, featuring the work of Jennifer Berman, Anthony Bowers, Liam Thomas Holding, Amalia Wilson, Tara White.
Sometimes you are so serious and entrenched in what you are talking about that you don’t even realize that what you are saying is actually funny––or crazy. And you are so invested in what you do, because it is your life, and it is really hard to get perspective on something that is so close to you. But your work gives you some kind of perspective, and provides punctums that reveal something amazing or unexpected. Something you can’t convey with words, a blind spot in speech. 

Humor can enter the work so many ways and engage or pass the viewer. A missed connection or a moment of recognition, enjoyable either way. Humor is articulate speechlessness. It can open a closed way of thinking. It can be light or subversive, it can be the only thread of communication between two opposing positions.

Blind Handshake is a meeting [departure] ….between artists that explore the humorous possibilities of marks, gestures, actions, and narratives….. where you are unsure what will happen. Sometimes the interactions will be humorous right away, other times they will be serious or sad, but hopefully you can look back on them with a sense of humor.

Peter Schenck (MFA '09) and Simon Slater (MFA '08) in a group painting show in Brooklyn's Fowler Arts Project space! - up until October 5th.

CLOSING RECEPTION: SATURDAY, OCTOBER 4TH FROM 5-7PM  EXHIBITION DATES: SEPT. 12 - OCT. 5, 2014

Fowler Project Space is pleased to present Life of the Party, an exhibition organized by Peter Schenck featuring work by Tess Bilhartz, Austin Eddy, Sarah Lubin, Jeremy Roby, Peter Schenck, and Simon Slater. Everyone wants to be the life of the party, but most of us also grapple with the need to be apart from the group, either in search of solitude or for the purpose of breaking new ground, be it intellectually, materially or physically. Each artist in this exhibition addresses the need for both outside acceptance and for isolation.

Tess Bilhartz weaves a full narrative of cool to ominous with the juxtaposition of two, equally sized canvases. In the first image, we are drawn to a man taking a tired, reluctant drag of a cigarette. His melancholy is only partially camouflaged by his upbeat, brightly patterned glasses. The next and final image is of the man's mouth and chin blown up to a nightmarish scale. His exhaling fills the canvas with almost nuclear neon green puffs of smoke. This is hardly a group of images resembling the Marlborough Man.

Austin Eddy’s paintings are a mixture of cowboy swagger and boyhood prankish wit. But residing in plane site of his gregarious, pipe-smoking, cowboy-booted protagonists are silhouetted, shadowy doppelgangers meant to interrupt and possibly end the party at hand.

Sarah Lubin constructs multi-figurative paintings, but the figures remain aloof from one another, preferring to focus in on the mundane, meditative routine of daily activities. Putting on socks, holding a cup, or propping one’s head up with a casually bent arm on a desk serve as the introduction to each figure’s seemingly voluntary isolation.
Jeremy Roby squeezes a Lego-like blockhead into the narrow confines of a rectangular picture plane. A young boy fills up half of the painting's composition with his own tears, submerging the lower half of his stunned, bug-eyed face in salt water. Unaware of his transgression, we as the viewer share in his shame. Roby’s imagery evokes the same playful adolescence of catching a child with his hand still in the cookie jar, but we feel some darkness lurking beneath.

Peter Schenck de-constructs the body and re-builds it to suit his compositional needs. Tree trunk-like, Guston-esque legs are wrapped in colorful patterns of stripes and plaids. A gloved hand in the foreground presents a pizza-shaped wedge. Is this meant as an offering or as a defensive shield? Schenck’s figures are loud and bright, but they are equally evasive and on guard.

Simon Slater cloaks his subject matter in all over patterning, concealing his work’s true identity. Through the use of comedic timing, he waits until just the right moment to land each punch line. Pizza slices, breasts, and splattering beer bottles are all ripe territory for Slater. He enjoys the game of concealment, but the joke teller in him can’t wait to expose the gag.
All of the figures in these paintings have it in them to be the Life of the Party, but it’s what separates them from such inclusion that intrigues us and makes them relatably human.

~ Exhibition essay by Peter Schenck + exhibition image by Jeremy Roby

Please join us for the opening reception of Life of the Party on Friday, Sept. 12th from 7-10pm. The opening coincides with a neighborhood-wide event: Greenpoint Gallery Night. The last weekend of the exhibition takes place during another neighborhood event, Greenpoint Open Studios, which happens October 4th and 5th from 12-6pm.

This project is sponsored, in part, by the Greater New York Arts Development Fund of the New York City Department of Cultural Affairs, administered by Brooklyn Arts Council (BAC).

9.26.2014

Paul Komada (MFA Alum) in several shows this fall!


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Join us Sunday, September 28th, 11am-3pm, Mad Campus Art WalkMadArt UWCampusGlobal Bloblem
Sculpture midway between Denny Hall and Kane Hall
September 13 - October 25

Map and details: http://madartseattle.com/mad-campus-art-walk-september-28th/
Opening reception,Saturday,  October 4, 2pm
To Be Alone Together, Curated by  Shelly Leavens and Emma Jane Levitt
Museum of Northwest Art
October 4 - January 4
121 South First Street, La Conner, WA 98
257,  (360) 466-4446

Site Specific Installation:
Storefronts Projects, Shunpike, Seattle WAGoing Cascade
South Lake Union Storefronts ProjectsEnding October 15
Amazon campus SW corner of Terry and Mercer

Ghost GalleryCorner of E Denny Way & Summit/Olive
Group show: Slave to the Needlepoint
November 13 - December 5
http://ghostgalleryart.com/

Always posting new photography on Instagram
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Joan Oh (MFA '15) at The Indie Photobook Library in Durham, NC - Opens 10/9

SEPTEMBER 19–NOVEMBER 7, 2014
FEATURING A SURVEY OF DOCUMENTARY STYLES IN EARLY 21ST CENTURY PHOTOBOOKS FROM THE INDIE PHOTOBOOK LIBRARY



Reception: October 9, 2014, 5–8pm, with Larissa Leclair of the Indie Photobook Library
Book signing with invited local authors: October 17, 2014, 5–8pm as part of Durham’s Third Friday
Picture Books is a juried exhibition of self-published and handmade photography books, featuring A Survey of Documentary Styles in Early 21st Century Photobooks from the Indie Photobook Library, curated by Larissa Leclair and Darius Himes.
Indie Photobook Library Presents
A SURVEY OF DOCUMENTARY STYLES IN EARLY 21ST CENTURY PHOTOBOOKS
Curated by Larissa Leclair and Darius Himes
The Indie Photobook Library’s seminal traveling exhibition, curated by Larissa Leclair and Darius Himes, arrives at Duke, after stops in New York, San Francisco and DC. A Survey of Documentary Styles in early 21st century Photobooks draws from the iPL collection and features 70 photobooks. The exhibition looks at the “documentary tradition” through the lens of a 21st century, global photographic community in which the lines between journalism, art and the long-term documentary project have blurred, morphed and continue to feed off of each other. The books selected for this exhibition present a range of subject matter, each coupled with a particular visual language drawn from a pool of diversity. There are books that speak a more traditional documentary language, while there are those that explicitly critique that very same tradition; there are diaristic books and titles that overlay a typological structure; other books rely primarily on found and vernacular imagery; and there are many books that borrow heavily from an art-photography storehouse. The goal of this exhibition is to survey the field before us and to foreground questions of authorship, voice, style and content.
The exhibition catalog, designed by Patrick Aguilar of Owl & Tiger Books, is available through Blurb. Visit Indie Photobook Library at blurb.com and search for Indie Photobook Library or the iPL homepage.
Click here for the exhibition list of Photobooks from the iPL.
_____
Larissa Leclair is an independent curator and writer. She is the Founder of the Indie Photobook Library (www.indiephotobooklibrary.org), a U.S. based archive that collects and showcases self-published and indie published photobooks, and facilitates discourse on trends in contemporary publishing and scholarly research now and in the future. Since May of 2010, the iPL has organized over thirty pop-up library spaces, events, and feature-length exhibitions in the United States, Canada, Guatemala and China. The seminal traveling exhibition A Survey of Documentary Styles in early 21st century Photobooks was featured in the San Francisco Chronicle and on TIME LightBox. Larissa Leclair has written for PDN, GUP, PQ, Photo-Eye, and VOP. She has served as a juror for the Blurb Photography Book Now competition, Magenta Foundation’s Flash Forward Festival, the 4th International Photobook Festival Photobook Award in Kassel, Germany, and the CPW Fellowship Fund 2013, among others. She lectures extensively, including the School of Visual Arts, Georgetown University, the Corcoran College of Art & Design, MICA, the New York Art Book Fair, and the Cleveland Museum of Art. Leclair was a 2014 Young Voices Fellow for The Next Conversation at the Center for Creative Photography in Tucson, Arizona and received the Griffin Museum Spotlight Award. Leclair is the editor of a volume of critical essays on the contemporary photobook with a specific focus on self-published work to be published in 2015 by the Indie Photobook Library and Conveyor Arts.


9.22.2014

9.15.2014

Jenny Perlin (UPenn Faculty) at The New York FIlm Festival

Jenny Perlin screens new work at The New York Film Festival October 3, 2014 at 9:15pm.

OCTOBER 3 2014
New York Film Festival: Projections
World Premiere

The Measures
A film by Jacqueline Goss and Jenny Perlin
Film Society of Lincoln Center, New York
Friday, October 3, 9:15pm

"Highlights include new works from filmmakers familiar to NYFF and Views from the Avant-Garde audiences including Kevin Jerome Everson (Fe26, Sound That, and Sugarcoated Arsenic), Ben Rivers (Things), Ben Russell (Atlantis), Sylvia Schedelbauer (Sea of Vapors), and Deborah Stratman (Second Sighted). Jacqueline Goss returns to the festival with the world premiere of her collaboration with visual artist Jenny Perlin, The Measures, which explores the metric system’s origins via the journey of two 18th-century astronomers tasked with determining the true length of the meter. The film will be screened with a live voiceover performed by Goss and Perlin."
-a blurb from the website

To check out the full line-up for this film festival, go to:
http://www.filmlinc.com/nyff2014/blog/nyff-sets-63-film-and-videos-for-its-projections-lineup

Jenny Perlin (UPenn Faculty) at Anthology Film Archives in NYC

SHOW & TELL: GUSTAV DEUTSCH / JURI RECHINSKY / JENNY PERLIN

July 12 – September 16

Each of our quarterly calendars contains hundreds of films and videos all grouped into a number of series or categories. Along with preservation screenings, theatrical premieres, thematic series, and retrospectives, we’re equally dedicated to presenting work by individuals operating at the vanguard of non-commercial cinema. Each month we showcase at least one such program, focusing on moving-image artists who are emerging, at their peak, or long-established but still prolific. These programs are collected under the rubric SHOW & TELL, to emphasize the presence of the filmmakers at each and every program. This calendar brings visits from Gustav Deutsch, a key figure of Austrian avant-garde cinema who will be premiering his radically atypical SHIRLEY – VISIONS OF REALITY; Ukrainian documentary filmmaker, Juri Rechinsky; and NY-based artist and film- and videomaker Jenny Perlin, whose show coincides with an exhibition at Simon Preston Gallery. This series is made possible in part with public funds from the New York State Council on the Arts’ Electronic Media and Film Presentation Funds grant program, administered by The ARTS Council of the Southern Finger Lakes (www.NYSCA.org, www.eARTS.org).

Upcoming Screenings

Anthology Film Archives 32 Second Avenue New York, NY 10003

9.09.2014

Dan O'Neill (MFA '14) at JAMESTOWN ARTS CENTER in RI - opens Sept 13

SECOND HOME
Suzanne Volmer

JAMESTOWN ARTS CENTER

18 VALLEY STREET
JAMESTOWN, RHODE ISLAND
SEPTEMBER 13 THROUGH OCTOBER 17

ALICE O'NEILL, COLGATE SEARLE AND DAN O'NEILL GROW UP

As an attention grab for audiences visiting Jamestown Arts Center in late summer and early fall, a glowing neon glyph set in low relief will greet them just inside the door. Reminiscent of the emblem of a super- hero’s belt or a computer command key, this stylized cloverleaf by Colgate Metcalf Searle III invites entry into the unique three-person exhibition “Second Home.” The show includes neon/mixed-media sculptures by Searle, artworks by Alice O’Neill (her drawings, etchings and cyanotypes), and a projection installation by her muralist brother, Daniel O’Neill.


The three artists grew up together in Providence and received under- graduate degrees from the Rhode Island School of Design (RISD). If familial pedigree matters, then note that Alice and Daniel O’Neill’s father is a professor in RISD’s film department and Searle’s dad is a professor in its landscape architecture department. The Jamestown exhibition basically tells a coming-of-age story about three individual trajectories that are informed significantly by experiences beyond New England.


After RISD, Daniel O’Neill received his MFA from the University of Pennsylvania after living in Rome, Italy, where he absorbed a rich history of mural painting, triggering his re-mix of the genre. Among employment opportunities, Daniel worked as studio manager for artist Joseph Kosuth, recognized for his neon text installations.


Alice was the one to contact Jamestown Arts Center last year regarding the development of this artist-curated exhibit. The idea came to her while she finished removing items from the O’Neill family house in Jamestown. She includes drawings and etchings, which reference things she gathered. Alice is interested in ideas of attachment, and so such things as her mother’s earrings are included as subject matter, blown-up beyond life-size.


Alice received her master’s degree from the University of Wisconsin in 2012 and has a Master in Printmaking from the University of Brighton in the United Kingdom. She was awarded a graduate assistantship at Wisconsin’s Tandem Press, a facility that produces professional artist editions by Sean Scully, Suzanne Caporael and others. Mentored at Tandem, she worked with their largest printing press. She has also made oversize cyanotypes that are included in the “Second Home” exhibition.


LIGHT IT UP


Searle combines a designer’s sensibility, technician’s skill and an artist’s vision to create his artwork. He had fabrication experience in design and architectural roles in New York City before deciding to pursue neon at the University of Wisconsin. He expects to receive his Masters degree in 2015 from that institution. When asked, “Why Wisconsin?,” Searle explains that there are only a few schools in the United States where a person can learn neon fabrication; the University of Wisconsin is on that list. He points out that neon and beer culture have actually evolved simultaneously in the Wisconsin economy, as neon signs are the advertising choice in many bars. The vernacular for the neon color “Brilliant Blue” straight off the production line is “Pabst Blue” among enthusiasts — illus- trating the connection neon has with the promotion of brew.


Searle had a rabidly successful couple of days at a recent Scope Art Fair in Miami, bending coat hangers into funky portable wire sculptures on the spot and selling them like hotcakes to collectors. He brings to Jamestown an extension of this way of thinking that is clever, sometimes funny and only achievable with an underlying understanding of mathematical determinates. Colgate’s meticulous control of possibilities is several steps above DIY culture in its refined use of materials; however, his mixed-media approach still utilizes easy finds of stock items from big-box hardware stores that he coaxes into effectiveness by drawing constantly upon his design training. His artworks evoke a minimalist sculptural intensity.


Alice O’Neill contributes subtle pencil drawings, evocative cyanotypes and etchings shown in the main gallery with Searle’s work. The artists have a sense of clean authority in common, and both have an interest in the craft of execution and quite differently explore connection of mood and emotion.


Daniel O’Neill chose the small gallery just before the central larger space to show his work. He figured, as it is windowless, that the low light would enhance projection possibilities and allow engagement with the architecture. Daniel’s narrative construct involves reinter- preting effects associated with painting through double-projector interplay. He mingles layers of video formatted, computer-modified imagery about observed time and place made with direct composite, lift and place techniques, and animated drawn passages. These get juiced-up by the addition of a layer of ink-jet-printed wallpaper made from the source material of his watercolors.

9.08.2014

Laura Bernstein and Saori Moriizumi at ActiveSpace in Brooklyn - OPENS 9/12

Supermacho
Laura Bernstein, Gita Blak, Leah Dixon, Saori Muriizumi, Hector Madera, Raul de Nieves, Fernan Pintado, Jonathan Torres, Amy Ruhl, Julie Tuyet Curtiss and Sebastian Vallejo.

Curated by Cristina TufiƱo

Opening, 10/12/14 6:00-8:00 PM
Active Space Brooklyn
566 Johnson
Brooklyn, NY

SUPERMACHO features spatial installations, performance remnants and painterly abstractions from a group of artists working as surrogates in a range of subjectitivies and gendered hysterias.  SUPERMACHO also explores the fluid boundaries between seriousness and an exuberant spirit present in the artists work.

Leah Dixon’s work addresses labor, war, and political correctness via highly physical processes— that often result in refined, yet deconstructed sculptures. Much of her work is formed metaphorical hand-built staging area.  Throughout the duration of the art’s construction, Dixon performs as a furious, one-woman making machine, questioning her relationship to power dynamics and propaganda as an American woman.  Her work calls to mind hand-made playground or athletic equipment, with a dubiousness that becomes increasingly apparent upon inspection.  Once the construction/deconstruction phase has created a sufficient structure, Dixon steps away— leaving an immediate vacancy to be filled by a viewer’s presence.  Like many laborers, Dixon’s right arm is much larger than her left.  Dixon believes imbalance is symbolic.  Imbalance provokes response.  Synchronicity over symmetry.  ALWAYS.

Raul de Nieves is a playfully obsessive multimedia artist combining excessive-identity in his performance and installation to build a unique hand-made material and (dis)functional language. de Nieves's decadent multimedia performances include large-scale figurative sculpture, ornamental hand-made garments, narrative painting, and live music to engage his audience in his personal mythology- a joyous mythology that mirrors a childish tantrum or the cosmic interplay of manifestation and dissolution.  de Nieves asserts an excessive form of identity combining violent rebellion and reverent craftsmanship.

Gita Blak explores the ways in which class and gender divisions in society can be articulated by means of music, the  artist collaborates with local activists, independent journalists, and artists in order to compose protest songs disclosing the minority positions in the society In her performance using the form of childplay and children's song, girls aged 10-12 perform in public space, breaking the common stereotypes according to which children are unable to grasp what goes on in their surrounding and girls should conform to the traditionally female (pre) occupations, linked to the private, never to the public sphere.

Hector Madera drawings, sculptures and installations are involved with the “more personal, a combination of abstract and figurative, bold and colorful forms that reflect a period of time where ecstasy and confusion were the highlights of any given day.  Excess was a main ingredient in everything I was doing.  My drawings are mainly done digitally, this is because I was too tired or too depressed to go to a piece of paper and try to make something special something grand.  Instead I started to download apps for drawing in my ipad… My intention is to invite the public to become part of the artwork by stepping in and activate the piece by just taking some pictures.” 

Laura Bernstein “Unusual Feet” asks “What does it mean to believe in an idea removed from action? Does the experience of seeing something out of place or in a context unbeknownst to its origins inspire mythology? For this exhibition an installation based on an on going investigation of mythology, anthropology and parachutes conjure the “the Umbrella-Foot tribe (Sciapodes) because in the hotter weather they lie on their backs on the ground and protect themselves with the shadow of their feet...

Amy Ruhl’s video sculpture Pinky Violence is a sculptural installation made from the remnants of a year-long artistic engagement with literary fairy-tales. The final video, My Mother She Killed Me, My Father He Ate Me projected on the interior. The title refers to a Japanese cinematic genre of adult film, also called “eroduction.”  From the title, a softer kind of violence, an infantile and/or feminine violence.. Not red. Pink. In her adaptations, fake blood consists of a children’s washable tempera paint that when fresh and wet yield a Dario-Argento-red, but dry a girly-girl pink.

Saori Moriizumi makes sculptures through a process of intuitively combining materials that find a median in seemingly contradicting qualities, such as, painting and sculpture, sweetness and violence, nature and artifice, structure and destruction, sincerity and irony, cheerfulness and hopelessness.
Jonathan Torres Some Kind of Creatures is an extension of his paintings; based on creatures that appear as a hybrid of bird or feline, others human with an evil smile but with a cherubic and beatific look. Tactility and repulsion appear in the work as equally pleasurable and disturbing. His sculptures he describes as  “as satire, a cruel smile or a negative joy; beauty in the ugly makes the beautiful more realistic and true.”

Julie Tuyet Curtiss collages stem from a recycling process. They originate from “orphans” or “dead-ends” works on paper.  “Man Kinds” is a collage series that questions gender roles, styles and the notion of identity. These portraits blend female and male attributes -particularly beards and haircuts - playing with patterns, erasing or multiplying facial elements. The shuffling of these mere attributes brings characters into existence.  The simplicity of the concept allows inexhaustible variations.

Fernando Pintado explores identity and theatricality where the harlequin acts as a surrogate self-portrait with phrases in English and Spanish are printed on cotton bed sheets, giving them a sense of confusion in the midst of comfort. The scale is of particular importance, in this case giving the work a sense of theatricality while connecting

Sebastian Vallejo's paintings are inspired by the expansive and improvisational quality that exists in nature; and by the light and colors of the Caribbean, where organic and inorganic forms collide and transpose visually, where order and chaos, affirmation and negation become ever-present.

Eileen Neff (Former UPenn Grad Faculty) at Bruce Silverstein Gallery in NYC


9.03.2014

Gonzalo Reyes Rodriguez (MFA '16) at Hyde Park Art Center in Chicago - Opens Sept 13th

Photo: Gonzalo Reyes Rodriguez

Hyde Park Art Center is proud to present the third annual exhibition of work from participants in our flagship artist professional development residency, The Center Program. Curated by Tricia van Eck, the group exhibition Front & Center unveils artwork by the 2014 class of artists in this program that is dedicated to building critical dialogue for professional artists seeking to advance their work. The exhibition features new artworks in various media by 25 artists from emerging to midcareer levels.
Over the course of six months, a supportive peer network, guest artists, gallerists, critics, and professionals push Center Program artists to answer tough questions, evolve their art, and ultimately produce strong, new work to show. The group exhibition Front & Center unveils features new artworks in various media by twenty-six artists from emerging to midcareer levels. Show runs from September 14, 2014 – January 4, 2015.

Featuring work by Kevin Blake, Steve Juras, Christian Ortiz,  Gonzalo Reyes Rodriguez, Sheri Rush,  Caitlin Ryan, Carla Fisher Schwartz, Casey Smallwood, Rodrigo Lara Zendejas, and others




HYDE PARK ART CENTER
5020 S. Cornell Avenue Chicago, IL 60615
Phone: 773-324-5520