ART REVIEW: 11 th S t ree t

Nothing yet. None of it will disclose itself in a series. Or if it did the terms are still discrete, not even a shadow between them. And after all this waiting. As for the painting, mauve dunes, power lines above a black road, silver where the night wears thin, sinuous little else. What next? More sculptures, more installations. Discontinuous to the end.

The month of April, a tunnel on 11th street, a nearby gallery. No way to bring them together.

Beneath the streets they pass, back and forth on bikes. Lights dangle from the cement roof. Silver to the tungsten coil like to the seams of the grass, gone by the moon. They pass back and forth. A state-sanctioned tunnel where the invisible collect their thoughts. Too weak to cast a shadow, the light merely vibrates, creating a field like to the empyrean. But this is underground. Water unravels like a tapestry, coiling in ripples on the ground.

There is a wind outside the tunnel, moving past the city. So much space. There will only be more.

The motives were less clear at the gallery. They created a landscape from parts of Scotland and England, a deer to wander in the twilight. The forest only shimmered. Green, blue, and gray, then antlers poached the frame. A luminescent deer strays in a phosphorescent forest. He’s still there, grazing.

Waves wash on the shore. Paul Klee disembarks. He has been at sea. He finds the tunnel, sees the deer. They displace his dreams of ghostly pyramids, shimmering fish, haunted fathers and the tables they set. He starts from the tunnel like a doe. He walks west, soon to join the Theatre of Oklahoma.

Who else will bring us together? He sets the table. Just walking through the desert, dream-figures, dream-fathers. Moses in the desert figures every pilgrimage. Still nothing but himself, he nonetheless embodies all that is to come. There was never anything but wandering.

The paintings, the film, and the installation figure something as well. They must. We have no idea what it is. This is the best place to be. Paul Klee takes it with him to his tomb. Another artist walks up a mountain, arranging stones in a line behind him, Nazca-like.

Only a dream-father can unite the disparate. We walk with him, and he with us. At last the paintings come together. A series, however unsatisfying. Still it is unstable, impossible to deduce anything solid. Art-prophets wander the desert. They might scatter the tribe, or unite the remnant. Max Ernst picks through the glacial scree, seeking in stone the marks of a different sculpture.

Such a topic is old, everyone’s favorite: no father to bring us together, forgotten in the desert, discontinuous, without future or memory, alas! we say, quietly rejoicing in our penance, its marvelous open-endedness. If the wailing was sincere we would have our tablet. Instead we have a philosopher’s stone. Passing it back and forth through memory.



PennDesign MFA Thesis website up and running!

Thanks to Ricardo Zapata (MFA '09), the website for the Class '09 Thesis exhibition is online, and it is a beaut! Check out the website for info on our upcoming exhibition at the ICEBOX Space in the Crane Arts Building in Philly and at Michael Steinberg Fine Art in NYC.

You will find images of everyone's work, our artist statements, and contact info.

We will be posting more updates here as soon as our final crits are over this weekend.

In the meantime, go see the website: www.pennmfathesis.com


Hunter Stabler (MFA '06) in group exhibition in Berlin! Opening Wed., April 29th. 7-10PM.

Subversive crafts, resurgent regionalism & fake folklore..

Kunstraum Richard Sorge presents part II of the international group show:

Strich & Faden - Heimat, Volkskunst und Travestie

Opening Reception: Wednesday, April 29, 7-10PM
with live band Heatsick & Austin

Exhibition Dates: May 1 - 29, 2009

Closing Reception: May 29, 3 - 7 pm

In 2008, Kunstraum Richard Sorge initiated an ongoing series of large international subversive Arts & Crafts and Neotrad exhibitions, the second of which will take place this May. Titled Strich & Faden, the exhibition project offers subversive travesties of craft and folklore and works that thematize Heimat (heritage), gender & identity in innovative or humorous ways.

The folksy German expression "nach Strich und Faden" means to do something thoroughly, with great artistry and precision, or according to the rules of an art or craft. In contemporary language the term has gained connotations of trickery, deceit and travesty.

Travesty is a device present in many works in this show, either as an artistic attitude, or as a subject matter. The participating artists use it to subvert both the traditions of Art & Crafts and our expectations of art.

This new edition of Strich und Faden presents outstanding representatives of the thriving US-american confrontational Arts & Crafts scene - some of which are shown in Germany (or Europe) for the first time - and presents them alongside their (Eastern) European colleagues. Strich und Faden II goes beyond ironic crafting however, also incorporating conceptual and neo-traditional works.

"Genius papercutting artist Hunter Stabler (USA) will attend the opening,
as well as a number of his fabulous German colleagues."- note from Hunter

Participating Artists

Peeter Allik - EST
Walter Bruno Brix - DE
Ulrich Diezmann - DE
Rinaldo Hopf - DE
Severija Incirauskaite-Kriauneviciene - LT
Garth Johnson - USA
Ai Kijima - USA
Charles Krafft - USA
Nava Lubelski - USA
Natasza Niedziolka - DE
David Rios Ferreira - USA
Schalalala Strickzirkel - DE
Johanna Schweizer - NL
Hunter Stabler - USA
Sztuka Fabryka - BE
Tulip Enterprises - DE
Georg Weise - DE

Curated and organized by Hans Booy & Paulus Fugers

Kunstraum Richard Sorge
Old Brewery
Landsberger Allee 54
10249 Berlin


Jiwon Lee, Heather Ramsdale, & Leigh Van Duzer in Exhibition at Rebekah Templeton... Opening Thurs. May 14 6-9pm

Bubble 'n Squeak

Rebekah Templeton Gallery

Opening Reception: Thursday, May 14th, 6-9pm
Exhibition Dates: May 14-June 20, 2009

Rebekah Templeton Contemporary Art is pleased to announce Bubble and Squeak, a group exhibition highlighting the work of first year Master of Fine Arts students Fritz Horstman, Jennifer Jones-O’Neil, Jiwon Lee, Heather Ramsdale and Leigh Van Duzer, some of the Mid-Atlantic region’s most promising emerging artists. The title references a classic English dish that is made from leftovers and scraps.

Fritz Horstman uses discarded shipping crates to form a dialogue about the human perception of nature. By cutting out a hole, in which the viewer is enticed to place their head, Horstman illuminates an interior space full of images of stars. Using elements of camera obscura, Horstman envelopes the viewer in a private world of light and image.

Jennifer Jones-O’Neil is a photographer exploring ideas of abstraction, flattening and altering by using color fields that are created analogously and digitally. Infused with elements of the absurd, Jones-O’Neil’s photographs highlight the alienation we can experience from consistently being bombarded with mass amounts of information.

Jiwon Lee’s carbon paper drawings jumble multiple images together to create a mass of circumstances and marks. Lee’s fragments are mashed together giving the drawing the power to create something new and unpredictable in the mind of the viewer and outside the complete control of the artist.

Using common construction materials, Heather Ramsdale’s work challenges our notions of our private spaces. Ramsdale inverts the organization of domesticity by reorganizing the materials we encounter during everyday life, exposing the space within structures.

Leigh Van Duzer’s photographs detail an interior space rich with narrative and engorged with structural decay. Her photographs deal with the detritus of human activity. Van Duzer’s recent series involves photographing a bankrupt video store as a ‘container of history’.

Rebekah Templeton Gallery
173 W. Girard Avenue
Philadelphia, PA 19123

See more of Leigh's work at www.leighvanduzer.com


Jamie Diamond (MFA '08) Open Studio at LMCC May 1-3... Opening Reception Fri. May 1, 6-8pm

LMCC Open Studio Weekend
May 1-3, 2009
Reception: Friday, May 1 6-8pm

Studios Open
Saturday, May 2, 12–6pm
Sunday, May 3, 1–6pm

Two Locations
120 Broadway, 29th Floor
77 Water Street, 10th Floor

All events are free and open to the public.
RSVP is required for all events. RSVP here: http://www.lmcc.net/openstudios

Lower Manhattan Cultural Council will open its two Workspace studio locations in the Financial District to the public for one weekend only, with an opening reception, open hours, and a reading. Workspace is LMCC's 9-month studio residency serving emerging visual artists and writers working in all media from painting to video, sculpture to photography, poetry to playwriting in unique spaces generously donated by the downtown real estate community. Meet this year’s 21 visual artists and 8 writers in their studio spaces and see the work they have been making while in residence. Changing what it means to 'work' in the Financial District, the program serves artists and writers working in all media from painting to video, sculpture to photography, poetry to playwriting in unique spaces generously donated by the downtown real estate community.

For more information about LMCC: http://lmcc.net/art/residencies/workspace/2008/openstudioweekend.html

See more of Jamie's work at www.jamiegdiamond.com


Micah Danges (MFA Photo Technician) in Group Exhibition at Gershman Y... Opening Thurs. April 23 6-8pm

Invented: (un)Realities, In Two Parts.

Vox Populi Gallery at the Gershman Y

Opening Reception: Thursday, April 23rd, 6-8pm
Exhibition Dates: Part 1 - April 23-June 6, 2009

The two-part exhibition Invented: (un)Realities, In Two Parts,
examines the duality of constructed landscapes and fabricated
architectural environments. The work selected for this exhibition
demonstrates the investigation into ‘artificial’ places and spaces,
which are found in the modification of the natural world or human
constructed/architectural surroundings. The artists in this
exhibition, in order to better suit their mission, rebuild, piece
together or manipulate these established constructs. These fictitious
environments, literally and figuratively, reflect our own experiences
and human interactions between real and illusionary surroundings.

The artists presented in Part 1 are particularly interested in
imaginary landscapes, constructing objects of flora and fauna and
creating images that depict an illusion between interior/exterior
spaces through installations, paintings and photography/video.

Artists Kate Stewart, Amy Adams, Kara Crombie, Micah Danges and Eva
Wylie all use the natural world (and the departure from the natural
world) as the genesis of their work.

Organized by Vox member and UArts Faculty, Julianna Foster
and Vox Member, Josh Rickards

Gershman Y
Borowsky Gallery
401 South Broad St.
Philadelphia, PA 19147


LECTURE: Terry Winters, Painter. Friday April 24th at 5pm...Meyerson Hall, B3.


, painter

Friday, April 24th at 5:00pm

University of Pennsylvania
210 S. 34th St.
Philadelphia, PA 19104

Lecture Open to the Public

Born in Brooklyn, NY, in 1949, Terry Winters attended the High School of Art & Design in New York and continued formal training at the Pratt Institute, receiving a BFA in 1971. His early paintings are influenced by minimalist, monochromatic paintings, like those of Brice Marden. Winters' love of drawing led him to introduce schematic references to astronomical, biological and architectural structures as the subject matter of his paintings. He began exhibiting work in 1977, and by the early 1980s his ideas had developed into loose grids of organic shapes beside lushly painted fields.
His has been included in numerous Whitney Biennials of 1985, 1987 and has held solo shows at the Tate Gallery in London and the Sonnabend Gallery in New York. His work has been exhibited at the Corcoran Gallery of Art as well as with many international museums. Bill Goldston invited Winters to print at the Universal Limited Art Editions studio in 1982. Mr Winters lives and works in New York and Geneva, Switzerland.

See more of Terry Winter's work here: http://www.matthewmarks.com/


Caelum: MFA Sculpture Seminar Exhibit Opens at the Rotunda, Fri. April 24 6-9pm

Caelum: Work in Response to The Passion of Joan of Arc (1928) and the Rotunda's Sanctuary Space

Work by Students in the MFA Sculpture Seminar: Chris Lawrence, Kyle LoPinto, Evi Numen, Maria Rajewski, Heather Ramsdale, Jacolby Satterwhite, Christie Whisman.

Color Organ by Sonic Measures

April 17-23, 2009
Reception: Friday April 24, 6-9pm

The Rotunda
4014 Walnut Street
Philadelphia, PA

Terry Adkins is Awarded the Rome Prize! Congratulations!

Sculpture Professor Terry Adkins has been awarded the prestigious 2009 Rome Prize in visual arts. Terry is among 25 visual artists and scholars who will spend a year working at the American Academy in Rome.

Terry's proposed project, Flumen Orationis, Latin for River of Speech, will highlight African influence in Rome. Three early popes came from North Africa. “In my work, I try to pick historically transformative figures who are little known,” Adkins said. “In Rome, I want to bring to light their presence there and revisit their legacy. “

The American Academy in Rome was established in 1894. The Rome Prize is awarded to artists and scholars through a national competition. Rome Prize fellowships are designed for emerging artists and for scholars in the early or middle stages of their careers. Fellowship winners come to Rome to refine and expand their own professional, artistic or scholarly aptitudes, drawing on their colleagues' erudition and experience, as well as on the inestimable resources of the Italian capital, Europe and the Mediterranean. The Academy's Rome Prize winners, the core of a residential community of up to 100 people at any given time, are at the center of a multi-disciplinary environment, where artists and scholars are encouraged to work collegially within and across disciplines.


LECTURE: Stanley Lewis, painter. FRIDAY, April 17th at 4:30pm...Morgan Bldg. White Room


Friday, Apr 17th at 4:30pm


Morgan Building
205 s. 34th street, Philadelphia, PA

After receiving a BA from Wesleyan University, Lewis went on to receive a BFA and MFA from Yale and was a Danforth Fellow. Solo exhibitions have included Dartmouth College, NH; the Bowery Gallery, NY and the Dorry Gates Gallery, MO. A major retrospective of his work was shown at the American University Museum, Washington D.C. in 2007. Group shows include the Delaware College of Art and Design; the Commission for Arts and Humanities in Washington D.C., and Swarthmore College, PA. His work is in the collections of the Albrecht Gallery, MO and the University of Indiana among others. Lewis' teaching experience includes The American University in Washington D.C.; Smith College MA, and Parsons School of Design, NY. Awards include both the Altman Prize and a Henry Ward Ranger Fund Purchase Award from the National Academy of Design, and a Guggenheim Fellowship.

For more info see: Midwest Paint Group


LECTURE: Alec Soth. Thurs., April 16th at 5:30pm...B-1 Meyerson Hall

(click image for bigger view)

ALEC SOTH, Photographer
Thursday, April 16th at 5:30PM

B-1 Meyerson Hall
210 S. 34th Street, Philadelphia, PA 19104

Alec Soth’s work is rooted in the distinctly American tradition of ‘on-the-road photography’ developed by Walker Evans, Robert Frank and Stephen Shore. From Huckleberry Finn to Easy Rider there seems to be a uniquely American desire to travel and chronicle the adventures that consequently ensue. He has received fellowships from the McKnight, Bush, and Jerome Foundations and was the recipient of the 2003 Santa Fe Prize for Photography. His photographs are represented in major public and private collections, including the San Francisco Museum of Modern Art, the Museum of Fine Arts, Houston, and the Walker Art Center. His work has been featured in numerous solo and group exhibitions, including the 2004 Whitney Biennial and a career survey at the Jeu de Paume in 2008. His first monograph, Sleeping by the Mississippi, was published by Steidl in 2004 to critical acclaim. Since then Soth has published NIAGARA (Steidl, 2006), Fashion Magazine (Magnum, 2007), and Dog Days, Bogotá (Steidl, 2007). He is represented by the Gagosian Gallery in New York and the Weinstein Gallery in Minneapolis.

The University of Pennsylvania's Residency Program is made possible by the Emily and Jerry Spiegel Fund to Support Contemporary Culture and Visual Arts. The Spiegel Fund creates and supports a series of coordinated interdisciplinary courses, programs and events.

NOTE: Admission is free, but tickets are required for this event. Tickets will be available one hour prior to the start of time in the lobby of Meyerson Hall.



Tetsugo Hyakutake (MFA '09) in group exhibition at Alan Klotz Gallery ... Opening Thurs, April 23 6-8pm

Tetsugo Hyakutake, Limestone Quarry, Tokyo, Japan 2007

Cosa Nostra : (Our Thing)

Opening Reception: Thursday April 23rd, 6 - 8 PM
Exhibition Dates: April 9th - May 2nd 2009

A selection of work by the gallery's artists, plus some invited guests.

The show features work by:

Pavel Banka
Carolyn Marks Blackwood
William Christenberry
Rebecca Cummins
Alyson Denny
Gilbert Fastenaekens
Terri Garland
Tetsugo Hyakutake
Melissa Ann Pinney
Robert Richfield
Charles Schwartz and Bill Westheimer
Aaron Siskind
Andrew Thompson

Alan Klotz Gallery
511 West 25th Street, Suite 701
New York New York 10001
212 741 4764


Lecture Review: Pasolini


Fear of an answer, that it crouches in the lecturer’s mouth. The Cinema Studies Colloquium opened only gaps. Every explanation couched itself in these terms. Nothing was settled in locus Pasolini. By moving him to inhospitable plains, in driving the poles further apart, much was accomplished. Turns out there are more than seven hills to roam, more space. Possibly we can all have a mansion here. The winds that are coming are great, the moon the only warmth.

The focus was Teorema, originally a novel. Pasolini turned it into a film with less than a thousand words, a mostly silent drift through bourgeois Milan, centered on a single family. Not much can be done to explain it. The book took these expository steps, even though it precedes the film, and it was abandoned. Can this be said, that a beginning explains its end? Not even Aquinas has an answer.

Teorema the book dissolved into Teorema the film, bringing to the screen a subsistence economy of gaps, cuts, and inexplicable gulfs. The method is reductive, erosive, destructive. Juan Rulfo, in explaining the similar atmosphere of his book Pedro Paroma, said he had to carry the narrative around in his head for years until it was shattered and shuffled enough to fit his sense of its form. But what shattered it? Why was the form different?

In its title the lecture hinted that it might follow Pasolini in his method: “The Obliteration of the Children of the Bourgeoisie in Pier Paolo Pasolini’s Vision (Part 1).” Destruction stimulated Pasolini, any violence aimed at generation. Indeed, no “Part 2” is scheduled.

She discussed another film, Porcile, a diptych contrasting a Nazi’s son with a starving cannibal who occasionally assails a victim in a medieval wasteland. The title refers to pork, more specifically capitalist societies which consume, defecate, consume. Such films, even divorced from any theoretical underpinning (any attempts to connect them with sterile Marxist concepts only emphasized this), still speak of irresistible corrosion, of some weight. Who knows what drives it. Medieval cannibalism might not be too far. We can’t account for it any more than we can account for the way books die from exposure. George Oppen, of the poets, forever:

……they feel themselves
The end of a chain

Of lives, single lives
And we know that lives
Are single

And cannot defend
The metaphysic
On which rest

The boundaries
Of our distances.
We want to say

(Of Being Numerous, 26)

Whether or not Marxism is still with us, whether it has acceded to its spectral status or persists as a presence which talks and talks and talks of anything anything anything- (who knows anymore?)- or whether another concept has succeeded it, itself frail and fading, does not seem to matter for Pasolini, the colloquium, or ourselves. What does matter is this visceral sense of some insistent gnawing at the present foundations. It was illumined in the scenes of Teorema which juxtapose the clenched fist of an eerily traumatized beautiful young Milanese girl with small drifting tufts of cottony smoke upon the black sands of Mt. Etna.

By such means Pasolini evokes his idea of the “eruption of the sacred,” that something which strains against the dead walls of the Milanese home, which rages within or against the closed fist of the young girl as she lay in bed surrounded by her sated, clinical family. This is familiar, and it hardly accounts for the effect of those drifting clouds, so close to the rare black ground.

What of the film if its ideas are lost? Would it become nothing? What of Teorema the book if Teorema the film is thus? What of Juan Rulfo’s original narrative if Pedro Paroma is thus? Why did they erode, cut? The lecture too worked in this valence.

If Teorema retains value, it will not be by its sources and referents, whether imaginative, societal, conceptual, or biographical. A work is none of these. They fade, and still some substance persists. Every investigation, the lecture included, works wittingly or unwittingly to exclude itself as a possible explanation. Something becomes fixed and evident only when it is wrong. A film, a book, a lecture can fight this, or use it. They float freely, though still bounded. By the end of the colloquium some hideous interval had been cleared, leaving the desert a little north.

Critical thought, taken in this sense, seems but a cutting of the ropes. Marxism excluded itself by exhausting itself. But something substantive still weighs on us, this thing it indicated. It erupts sometimes from Teorema or the rattling of a trolley at night. It floats freely in the smoke-filled air, shadowing the silver ashes, a makeshift balloon in medieval Russia. The lecture demonstrated the value of an erosive method; “rain also is part of the process” (Pound, Canto LXXIV). The film, turning its back on the book, only accumulates treasure. Those who do not seek the world shall gain it. Those who seek the world shall lose it.


LECTURE: Matthew Ritchie, Painter/Installation Artist. Mon. April 13 5:30pm. Meyerson B1

MATTHEW RITCHIE: Painter/Installation Artist

Monday, April 13, 5:30pm

Matthew Ritchie's installations of painting, wall drawings, light boxes, sculpture, and projections are investigations of the idea of information. Explored through science, architecture, history and the dynamics of culture, his works are defined equally by their range and their lyrical visual language.

In 2001, Time magazine listed Ritchie as one of 100 innovators for the new millennium, for exploring "the unthinkable or the not-yet-thought." More omnivorous than omnipotent, encompassing everything from cutting-edge physics, ancient myth, neo-noir short stories and medieval alchemy to climate change, contemporary politics and economic theory, his installations fuse unique narrative forms with our constantly changing factual understanding of our universe. Typically, for his exhibition "We Want To See Some Light" at Portikus, Frankfurt, in 2005, he collaborated with a visual neurologist, an architect, a group of students and a philosopher to examine the physical limits of generated knowledge.

His work has been shown in numerous exhibitions worldwide including the Whitney Biennial, the Sao Paulo Bienal and the Sydney Biennial. Solo shows include the Dallas Museum of Art; the Miami Museum of Contemporary Art; the Contemporary Arts Museum, Houston; the Massachusetts Museum of Contemporary Art, Portikus, Frankfurt and The Fabric Workshop and Museum. A major permanent installation; designed in conversation with Pritzker prize-winning architect Thom Mayne, opened in December 2006 in a new Federal Courthouse in Eugene, Oregon.

Meyerson Room B1
University of Pennsylvania
School of Design
210 South 34th Street
Philadelphia, PA

MFA Photo Seminar Exhibit Opens in Meyerson Gallery, April 10

Film Still, La Jetee, 1962.

La Jetee: The Response.

Work by students in the MFA Photography Seminar: Edward Carey, Matthew Thomas Cianfrani, Jessica Clauser, Tia-Simone Gardner, Tetsugo Hyakutake, Nsenga Knight, Antonio McAfee, Joe Ovelman.

April 10th - 17th, 2009
Closing Reception Friday April 17, 5:30 - 7:30

Meyerson Gallery
University of Pennsylvania
School of Design
210 South 34th Street
Philadelphia, PA

Gallery Hours Monday - Friday 9am - 5pm

Alexi Worth (MFA Senior Critic) awarded a Guggenheim Fellowship...Congratulations!

Model in Shadow, 2008

Alexi Worth, Artist, Brooklyn, New York; Senior Critic, Graduate School of Fine Arts, University of Pennsylvania: Painting.

From the Guggenheim press release:
"Edward Hirsch, the president of the John Simon Guggenheim Memorial Foundation, announced today that in its eighty-fifth annual competition for the United States and Canada the Foundation has awarded 180 Fellowships to artists, scientists, and scholars. The successful candidates were chosen from a group of almost 3,000 applicants.

Guggenheim Fellows are appointed on the basis of stellar achievement and exceptional promise for continued accomplishment. One of the hallmarks of the Guggenheim Fellowship program is the diversity of its Fellows. The ages of this year's Fellows range from twenty-nine to seventy; their residences span the world, from Waipahu, Hawaii, to New York City and from Toronto to Glasgow; and their Fellowship projects will carry them to every continent..."

To learn more about the Guggenheim Foundation fellowships, see their website: http://www.gf.org/news-events/


LECTURE TONIGHT: Jenelle Porter, ICA associate curator...Thurs., April 9th at 6PM...Morgan White Room

The Real World Lecture Series Presents…

JENELLE PORTER: associate curator, Institute of Contemporary Art
THURSDAY, April 9th at 6:00 PM

Jenelle Porter is associate curator at the Institute of Contemporary Art, Philadelphia, where she has most recently organized “Dirt on Delight: Impulses That Form Clay,” “Joshua Mosley: dread,” “Trisha Donnelly,” “Locally Localized Gravity,” and “Gone Formalism,” among others. From 1998-2001 she was curator at Artists Space in New York where she organized over twenty exhibitions, including a re-creation of the seminal 1977 Artists Space exhibition “Pictures.” She was a curatorial fellow at the Walker Art Center (1997-98) and a curatorial assistant at the Whitney Museum of American Art (1994-1997). She has written essays for several catalogues and magazines, and books on artists Trisha Donnelly, Joshua Mosley, Stephen Prina, Matthew Ritchie, and Uri Tzaig.

White Room
Morgan Building
205 S. 34th Street



Interesting new website for art/artist videos launched by the Indianapolis Museum of Art

An article in the New York Times recently introduced a new web resource for art focused media. Artbabble will feature such hard to find material as artist interviews and short profiles of curators and art handlers. This could be a great way for artists to get a behind-the-scenes sense of how arts institutions function. The website opens with links to videos featuring Brice Marden, Maya Lin, and a preview of the 5th Art:21 season.

Here is an excerpt from the article written by Kate Taylor (3/6/2009):

"In the last few years, as museums have tried to take advantage of the Internet to connect with young audiences, they have produced an increasing number of online videos, from artist interviews and time-lapse shots of exhibition installations to short profiles of curators, art handlers, and even museum guards. Most institutions feature these videos on their own Web sites, as well as uploading them to sites like YouTube or blip.tv. But until now, there has been no dedicated place on the Web for art videos...
Maxwell Anderson, the museum's director, said the goal behind ArtBabble, and the museum’s own video production, is to allow visitors to 'experience the life of museums,' whether through employee profiles, studio visits with artists or videos of conservators restoring objects. The advantage of making the new video site a collaborative one was obvious, he said: 'The strength and potency of this as a shared site is much greater than one museum at a time'.”

Here is a link to the NYT article: www.nytimes.com/2009/04/07/arts/design/07babb.html

Check out Artbabble: www.artbabble.org


John Moore (MFA Senior Critic) exhibition opening at Arthur Ross Gallery...Wed., April 8th from 4-7pm

A Fine Fall Day, 2008 (detail)

Marilyn Jordan Taylor, Dean of the School of Design
invites you to preview…

John Moore

Thirteen Miles From Paradise

Gallery talk by the artist at 4.00 pm
Reception to follow from 5.00 – 7.00 pm

Exhibition continues through June 14, 2009

University of Pennsylvania
220 South 34th Street
Philadelphia, PA

Opening co-sponsored by the Arthur Ross Gallery and the School of Design


Chris Lawrence (MFA '10) in group exhibition at Crane Arts Center...OPENING Thurs., April 9th 6-9pm


Opening Reception
: April 9th 6-9pm
Exhibition Dates: April 9 – May 7, 2009 (Wed-Sun:12-5pm)

SEA: Space for Experimental Art
Crane Arts Center
1400 N. American Street
Philadelphia, PA

For more info: www.cranearts.com

MONDAY: Talk with Michael Brenson (MFA Senior Critic) on "The MFA Question"...Morgan Building White Room at 8PM


with Michael Brenson

MONDAY April 6th at 8pm
White Room, Morgan Building

Informal discussion about art education and that which is The (your) MFA.

Essays available online:

· Thierry De Duve's essay on what art education could/should be
· Essays from the avant garde school in Frankfurt
· Revision Number 6 ADDICTIONS by Dave Hickey from Art in America

You can download the essays in our course folder by logging in with your penn key here: http://www.design.upenn.edu/remoteaccess
Navigate to FNAR and then the “distribution” folder


THIS FRIDAY: Women in Fine Arts Panel Discussion featuring MFA Alumni...Morgan Building White Room 4PM

(click image for bigger view)

Friday, April 3, 4-5:30pm

Morgan Building, White Room

Panel discussion on gender and careers in fine arts with…

Carson Fox, Penn BFA, multi-media, www.carsonfox.com

Jill Sablosky, PennDesign MFA '79, sculptor, www.inliquid.com/artist/sablosky_jill/sablosky.php

Marjorie van Cura, PennDesign MFA '02, painter, www.marjorievancura.com

All PennDesign students--men and women, undergraduate majors and grad students--are welcome. Refreshments and hors d'oeuvres will be served. RSVP if attending to Rachel at rlburk@upenn.edu.

Series sponsored by the Trustees’ Council for Penn Women and organized by Career Services.


LECTURE: John Kindness... THURSDAY Apr. 2nd at 12pm...Morgan Bldg. White Room


JOHN KINDNESS, Visual Artist

THURSDAY, April 2nd 2009, NOON

205 S. 34th ST. PHILADELPHIA, PA 19104

John Kindness studied fine art at the old College of Art (now the University of Ulster) and worked as a graphic designer for the BBC before devoting himself full-time to art making in 1986. Since then he has held fellowships in the International Studio Program at PS1 in Queens and the British School in Rome. His exhibition, "Treasures of New York," led to solo exhibitions at the ICA in Philadelphia, the Kerlin Gallery in Dublin, the Drawing Room in New York, and Littlejohn Contemporary. His work is collected in the Boston Museum of Fine Arts, British Council, Imperial War Museum, National Gallery of Ireland, Ulster Museum, and Victoria and Albert Museum. He lives in London.

Kindness is visiting the University of Pennsylvania for the premier of opera “The Loathly Lady”, libretto written by Penn’s English Professor Wendy Steiner and music by Paul Richards. John Kindness has contributed all of the artwork for the production.

Go to www.phf.upenn.edu for more information on "The Loathly Lady"