Posts in Exhibitions
Spotlight: Stencil Exhibition at Hashimoto Contemporary
Eelus

Eelus

April 6th - April 27th, 2019

NEW YORK CITY - Hashimoto Contemporary is pleased to present Spotlight: Stencil, a group exhibition surveying contemporary stencil art. The exhibition features an international roster of artists who push the boundaries of the medium both inside and outside the studio.

Eelus is a UK based mural artist and screen printer. An early member of the street-art bastion Pictures on Walls, Eelus is a contemporary of Banksy, Shepard Fairey, Hush, and many more working in stencils.

Jana & JS are an Austro-French duo whose work merge their shared passion for photography and urban environments. Inspired by the city, its architecture and inhabitants, their work focuses on urban landscapes, portraits and details of architecture.

Joe Lurato,

Joe Lurato,

Joe Iurato is a multidisciplinary artist whose works are built on a foundation of stencils and aerosol. Falling somewhere in between simplistic and photorealistic, his multi-layer stencils offer a distinctly clean and illustrative aesthetic.

Mando Marie

Mando Marie

Mando Marie is known for her graphic work, which uses images of tales and repetition of motifs to inform the compositions of her paintings. Her works play with elements of both the spooky and nostalgia.

OakOak is an anonymous artist who transforms everyday objects, utilizing them for his cleverly placed imagery, creating works that are a combination of humor and urban poetry.

Oak Oak

Oak Oak

Penny finds inspiration in everyday objects and often overlooked ephemera, but currency is the most prominent recurring theme in his work. He has received global critical acclaim for his hand cut, extremely detailed stencil work.

This exhibition will be on view through Saturday, April 27th. A limited edition 7-layer screen print titled Red Dress by Eelus is scheduled to be released in conjunction with the exhibition and will be available in person at the opening. For more information, additional images, or exclusive content, please email nyc@hashimotocontemporary.com

Solo Show of Harlem artist Stan Squirewell at Gallery 8, London | April 1-13, 2019
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FACTION Art Projects is delighted to present a solo show of Harlem-based artist Stan Squirewell at Gallery 8, London. Following an exhibition of Squirewell’s work at FACTION’s Harlem space, the FACTION team is bringing him to London for a display of multilayered collages, which through elements of mythology, sacred geometry and science, tackle themes of race and memory. This marks Squirewell’s first solo show outside the US. A Private View of the exhibition will be held on April 2, 2019 from 6-9pm.

Squirewell’s newest works, which have evolved over two or three years of archival study and exploration, are heavily influenced by a recent revelation of his paternal ancestry.

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Squirewell says:

‘For most of my life I believed my family were African Americans who had arrived to the US on slave ships, and it wasn’t until my twenties that I discovered my true heritage, that they were indigenous Americans. As a teacher working closely with the national curriculum I constantly see how history, even now, is curated. My art attempts to rewrite these assumed histories. The beauty of the works capture the viewer, but it’s the ugly that intrigues and leads them to look deeper.’

Rediscovering his ancestry has prompted Squirewell to question his identity, particularly in the western hemisphere. It also speaks to his battle with the omnipresent slavery narrative, when he himself comes from a black family that is not believed to have a history of slavery. Through portraiture he challenges histories and presents a more empowering narrative for black identity, seeking to change the terminology around the very word ‘black’.

The portraits have a16th, 17th and 18th century aesthetic with a contemporary awareness. The depicted figures are both real historical figures and fictitious characters that are in some way related to the artist. Through demonstrating the misrepresentations of history, they critique what we colloquially describe as fact. Each artwork is complete only after he ceremoniously burns both the collage and its hand carved frames which include motifs and markings from ancient indigenous American and African cultures.

The titles of Stan Squirewell’s works reference particular moments in our shared history. One work entitled ‘Willendorf’, is inspired by the prehistoric female figure of ‘Venus of Willendorf’, while another, ‘Amerindian’ refers to the ‘$5 Indians’ - those who, 125 years ago, paid for falsified documents that proved them to be Native American.

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About Stan Squirewell:

Stan Squirewell was born and raised in Washington, DC and currently lives and works in Harlem, New York. His artistic training began at the Duke Ellington School of the Arts. Since graduating he has continued his tutelage under many of DC’s legends including artists Michael Platt and Lou Stovall. Squirewell, is a painter, photographer, installation and performance artist. His work is multilayered and his subject matter tackles themes such as: race and memory through mythology, sacred geometry and science. He draws his inspiration from theory books, science fiction movies and novels, avant-garde jazz and indigenous storytelling. He is a (2007 MFA) graduate of the Hoffberger School of Painting where he studied with the late, Grace Hartigan. Squirewell is the first winner of the Rush Philanthropic and Bombay Sapphire Artisan series. He has performed with Nick Cave (SoundSuits) at the National Portrait Gallery and Jefferson Pinder with G-Fine Arts. He is privately and publicly collected, his works are in the Reginald Lewis Museum, the Robert Steele Collection and recently acquired by the Smithsonian for the African American Museum (2015.) Squirewell is currently exhibited as part of ‘Fashioning the body’ at projects+gallery in St. Louis alongside Bisa Butler, Soly Cissé, Renee Cox, David Antonio Cruz, Kenturah Davis, Hassan Hajjaj, Basil Kincaid, Mario Moore, Chris Ofili, Fahamu Pecou, Katherine Simóne Reynolds, Jacolby Satterwhite, Mickalene Thomas, and Kehinde Wiley.

About FACTION Art Projects:

FACTION is a flexible collective, from the team behind the hugely successful Gallery 8 and Coates & Scarry in London, who have created a unique model for artists and gallerists to work together. FACTION addresses the changing market place and the erosion of the traditional art market, where galleries were gatekeepers for artists. FACTION provides artists with promotion and opportunity to access collectors and a wider audience, with all the support of a gallery but without the constraints of the traditional model. They aim to deliver a program of artists that is diverse and inclusive. FACTION launched in February 2018 at Gallery 8 in Harlem, New York and since then has become strongly imbedded in the Striver’s Row community and a highlight of Harlem’s cultural scene.

For more information please contact Anna Beketov, anna.beketov@damsonpr.com, +44 (0)20 7812 0645

Sacred Geometry: Interview with Phyllis Gorsen and Paula Cahill
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Phyllis Gorsen

I have created a series of multi-canvased paintings that describe how we are all connected together by having elements of everyday life in common. I use symbols in both visual and written language as depictions of these commonalities highlighting the connections created by their universality despite varying perceptions. I use a combination of abstraction and representation in the work.These paintings explore connection in two ways: larger multi-canvased compositions that are broad symbolic illustrations of elements of common human experiences, and smaller “couples” paintings that represent two universal elements symbolically paired together in written language. These works are more specific in nature. 
My paintings are intended to move the eye using energetic patterns, movement and vibrancy. My hope is that viewer is captivated by the visual allure of the surface to allow for a slow unveiling of the meaning of the work – which is that we all connected by sharing many of these human experiences.

-Phyllis Gorsen

Tell me about your creative journey so far. 

I have been painting most of my life, primarily figures.  What I loved most about figurative work is that many times it contains the thing that is most basic to all of us. Race, gender identity, religion, etc. inform our experiences and perspectives and thus there are multitudes of viewpoints stemming from that. But, even with these differences, there are overarching similarities that we are share. That is the place that I want to put the emphasis on. As an artist, my work has always been about connection. I try to portray the human aspects that are intrinsic to all people regardless of our differences.  

When I went back to school and got my MFA in 2014 from the Pennsylvania Academy of Fine Art, I studied the figurative painters that I loved so much, mainly the Bay Area Figurative Painters like David Park and Richard Diebenkorn. It was then that I started to concentrate on figurative work that captures the patterns of everyday life, but I never made my work autobiographical. I was always much more interested in those spaces that are common to everyone. And although the figure was a catalyst for my work, between the use of color, collage, and pattern, there has always been a strong abstract component. After I graduated, I started to play around in the studio thinking more about the literal interpretation of patterns of everyday life. That’s when I took the turn into geometric abstract work.

As I delved deeper into the abstract elements, both in subject matter and execution, I began portraying components of everyday life in symbolic terms. I created paintings mimetic of the human experience without the use of figures. Most people don’t realize that my paintings contain symbols, I think mostly because I try not to make them too obvious. I prefer a slow unveiling of the meaning behind the work. I do fuse abstraction and representation within many of my paintings as long as I feel they describe the various facets of our commonalities. Some of these elements are recognizable and others are symbolic interpretations of components such as language, technology, nature, culture, etc. Often, I use lines to bridge these symbols together, illustrating how they connect us together. Linguistically, I am exploring the use of symbolism through my titles. These play a critical role in telling the story of each piece and drive the composition of some paintings. All of my work has a high degree of vibrancy and vibration that is a constant within my practice.

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What inspired you to create the work you are including in the exhibition at James Oliver Gallery?


My works in the show contain pieces that are more complex and have various visual components and meanings, as well as paintings that are more distilled and simplified. In addition to the complex paintings that are attached to multiple canvases, I wanted to include paintings that were separate but related. So I have works that are both interconnected such as “Essence and Pursuit” and outwardly connected such as “Of a Circular Nature…”- which are a set of four paintings? It was an exciting exploration in the idea of connection to depict it internally and externally. All of the work is painted on circular canvases or within circular spaces. The circle to me is beautiful in that there are no defined edges. They feel like complete bodies to me and allow me to investigate the idea of connection in a more fluid way.


What are some ongoing themes or ideas you have been exploring within your paintings?

As I mentioned before, I focus on how the commonality of shared patterns connects people together by using symbolism- both abstract and representational. I personally feel that the most powerful works are the ones that combine visceral sensory experiences with fundamental content underneath. I like making the surfaces of my paintings beautiful with the hope that the viewer is enticed enough to uncover the underlying message of human connection. In “Interweave”, the idea was to illustrate that regardless of our differences, people are internally woven together creating a society. In “Interlink #1-12”, the 12 separate canvases each represents a microcosm of a society that is linked to ones surrounding it. In “Essence and Pursuit”, there are eight canvases representing elements of humanity. From the top left panel going across and down, they are: Connection, Essence (red rings emanating outward), diverse populations of people moving together and apart (top middle), Vegetation, Geography, Technology (bottom middle), Knowledge, and Cities.


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What can visitors expect from this exhibition?  

Sacred Geometry describes the patterns found in nature from the most minuscule particles to the greater cosmos. We obviously took on the title of the show “Sacred Geometry” with some poetic license. The idea behind the show was to exhibit work that had geometric abstract elements that also incorporated the meaning behind it.

When you walk into Hot-Bed Gallery, the viewer is immersed in a room of vibrant pattern and color. It really is visually exciting due to the interplay of color and movement from our work. I was really happy to be exhibiting with Paula Cahill because I am an admirer of her work and I felt that our paintings would fit well together. Hopefully, the audience will be seduced by the luminous surfaces to want to know more about the paintings.

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Paula Cahill

Is it possible to pinpoint when straight and curved lines were invented? The contours of ancient rock paintings give us organic lines and line is evident in the motifs of early Greek vessels and Egyptian Funerary art. Renaissance artists were lauded for their invention of perspective, a system contrived of straight lines that extend to infinity. Modernists isolated and formalized gestural line as subject. I strive to extend this conversation by painstakingly mixing and repeatedly laying down up to 100 gradients of color in my attempts to contemporize line.

- Paula Cahill

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Tell me about your creative journey so far. 

I studied figurative painting for many years before transitioning to complex abstract paintings. While in Graduate School, one of my critics looked at my figurative work and told me that if I wanted to paint flesh better, I should paint a fish. So, I did. When he came back, he said: "That's a pretty good fish, you should paint another one." Apparently, my other critics also thought that I should paint fish and they told me so. I never figured out if they thought I painted great fish or lousy flesh, but I kept painting fish. Pretty soon, I became interested in the way fish were moving in my aquarium and I began tracking their movements with line. I used those lines to make my first linear abstract paintings.

Being an abstract painter was like being a kid in a candy store for me. I wanted to experiment and try every type of abstract painting. I experimented for about six years. When I decided to get serious about showing my work, I asked friends for advice. They basically told me that I was a gallerist's nightmare! I needed to settle down to create a cohesive body of work. That's when I returned to the lines and I’ve been developing this body of work for almost two years. I’m glad that I made this commitment because the work has become more precise and complex. I’ve moved beyond fish and have used a variety of catalysts for the paintings. Art historical reference, movement, music, geometry, and memories have all been sources for my paintings.

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What inspired you to create the work you are including in the exhibition at James Oliver Gallery?

To me line is everything! Line is everywhere and it has been with us forever. I often wonder if we can pinpoint when straight and curved lines were invented. The contours of ancient rock paintings give us organic lines and line is evident in the motifs of early Greek vessels and Egyptian Funerary art.Renaissance artists were lauded for their invention of perspective, a system contrived of straight lines that extend to infinity. Modernists isolated and formalized gestural line as a subject. I strive to extend this conversation by painstakingly mixing and repeatedly laying down up to 100 gradients of color in my attempts to contemporize line.

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What can visitors expect from this exhibition?  

My new 2019 paintings will be exhibited for the first time in Sacred Geometry at Hot Bed. Geometry and historical reference are heavily weighted in this work. I think that viewers will be surprised to see some color shifts and compositional changes.

Paradigm Gallery at Art on Paper 2019

For their fourth showing at Art on Paper, Paradigm Gallery will be presenting artwork by Alex Eckman-Lawn, Drew Leshko, Evan Hecox, Hyland Mather, and Seth Clark. The artists have all created their artwork using their own unique methods, but will be coming together for a fair display not to miss. Click on the artist names below to see their collections. The newest pieces by each artist will be added to their linked collection pages on Friday, March 8th. Email sara@paradigm-gallery.com if you would like to see a preview of the collections prior to that date.

Paradigm Gallery | Booth 105 | Featured Artists
Alex Eckman-Lawn
Drew Leshko
Evan Hecox
Hyland Mather
Seth Clark

Fair Dates/Hours/Location
March 7 - 10, 2019 | 299 South Street - Pier 36, Downtown Manhattan

OPENING NIGHT
Art on Paper Preview
Thursday, March 7, 2019 • 6:00pm to 10:00pm

PUBLIC FAIR HOURS
Friday, March 8 • 11:00am to 7:00pm
Saturday, March 9 • 11:00am to 7:00pm
Sunday, March 10 • 12:00pm to 6:00pm 

Petites Luxures
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NEW YORK CITY - Hashimoto Contemporary is pleased to present Petites Luxures in Big Apple, a solo exhibition by French illustrator Petites Luxures. Petites Luxures in Big Apple will be the artists inaugural solo exhibition at Hashimoto Contemporary, in which he explores themes of sexuality and intimacy through his signature minimalist style.

Through the use of minimal mark making focusing on the simplicity of fluid lines, Petites Luxure’s work delves into the intimacy of human relationships and love. French phrases and humorous witticism’s act as clues
to the often seemingly unfinished scenes, leaving the viewer to imagine the rest of the story. From a pair of hands unbuckling a belt to innumerable hands intertwined and entangled across bodies, the images culminate in a delicate and playful portrayal of desire and lust.

For Petites Luxures in the Big Apple, the artist will be exhibiting over 25 new ink on paper drawings, and will be exhibiting mixed media sculptural works and installations for the first time ever.

About the exhibition, Petites Luxures states, “Whatever the medium is, the purpose is always to play with the viewer’s eye, to make the spectator search for the rest of the story and to create playful and interactive erotic scenes.”

Please join us Saturday, January 5 from 6pm - 8pm for the opening reception of Petites Luxures In Big Apple. The artist will be in attendance. A limited edition archival pigment print of L’Éventail is scheduled to be released in conjunction with the exhibition and will be available in person at the opening.

This exhibition will be on view through Saturday, January 26, 2019. For more information, additional images, or exclusive content, please email us at nyc@hashimotocontemporary.com

Max Cole 'Crosswinds" at Larry Becker Contemporary Art
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If you find yourself in Philadelphia before the end of the year, we highly suggest stopping by Larry Becker Contemporary Art to see their current exhibition. To be honest, it wasn’t yet on my radar when I decided to go gallery hopping on a Saturday in November. I happened to begin chatting with an artist sitting a co-op space nearby and he urged me to go over and take a look. ‘Crosswinds’ presents paintings and works on paper by American artist Max Cole. I won’t give away too much here since the owners are more than happy to tell you about this incredible artist and her work - so go see some great art and say hi to their adorable gallery cat!

Max Cole
’Crosswinds’
On view Nov 10 - Dec 29, 2018

You can follow the gallery on Facebook & Instagram.

Max Cole’s paintings suggest an approach to infinity through the use of vertical repetitive lines, a record of intense focus that is said to contain energy as embedded content. The artist describes this process, which she has worked in for over 50 years, as meditative. Though sometimes compared to the work of Agnes Martin, the similarities between the practices are superficial. “There is no other way to produce the work except for a depth of engagement requiring the abandonment of self," Cole has explained, "and this process opens the door to infinity enabling reach outside the physical. For me art must transcend the material.” Born in 1937 in Hodgeman County, KS, she received her BFA from Fort Hays State University in Kansas and her MFA from the University of Arizona in Tucson. Influenced by the Suprematist works of Kazimir Malevich during the late 1950s, she began producing paintings which reflected on time with simple forms. The artist lives and works in California. Today, Cole’s works are held the collections of the Metropolitan Museum of Art and The Museum of Modern Art in New York, and the Los Angeles County Museum of Art, among others.

Artist biography adapted from Artnet.

Jaime Brett Treadwell at Pentimenti Gallery

The paintings on view in shift alt delete point to a slight detour from previous directions. Experimentation with new ideas, specifically architectural and mechanical drawing methods, combined with my persistent 1980’s childhood influences, including MTV graphics, digital synthesizers, and Miami Vice, has resulted in a deeper complexity of interwoven parts. I chose the exhibition title shift alt delete after recognizing the correlation between keyboard functions and the shifting realities present throughout this body of work. The shift key is designed to shift from one version to another, such as lower case to upper case. Alt, short for alternate, is designed as a modifier key to adjust or alter change. This ability to change or manipulate reality parallels my recent investigations regarding visual deceptions and spatial ambiguity through line, shape, color, and space. Similar to the key functions, elements in my painting often serve multiple roles. For example, a thin line may operate as the edge of a shape and also contribute to a repeating pattern of lines, later to return as a single line that cuts through another form or shape. These moments of co-existence throughout the painting disrupt the viewer’s perception of truth, often bending reality. Similar to pressing the shift, alt or delete key, these paintings can quickly switch identities back and forth, as they suggest alternate realities or a fictional universe.

www.jaimetreadwell.com


Pentimenti Gallery 

Nov. 10th – Dec. 20th

Philadelphia, PA 

Art Miami, Context and Aqua 2018 Staff Picks

This is our second year being a proud media partner of Art Miami Fairs. As if visiting sunny Miami is not inspiring enough, we got to explore thousands of artworks from across the globe. There were incredible, innovative pieces that stuck out to us from every art career level, but we had to narrow it down to a select few.

Here are our picks from Art Miami, Context and Aqua fairs from the 2018 edition.

Art Miami

Context

Aqua Art Miami

DEADRINGER exhibition by Michael Reeder

Hashimoto Contemporary is pleased to present DEADRINGER, a solo exhibition by Michael Reeder. DEADRINGER will be Reeder’s inaugural solo exhibition at Hashimoto Contemporary, in which he will be exhibiting new works that explore themes of self-identity and ego.

Through the use of bold saturated color and graphic geometric patterns blended with figurative elements, Reeder’s work delves into the concept of self, and the innate human desire to be an authentic entity. Skulls and hands are prevalent in the artists work, calling attention to both internal and external physical elements that connect us all as humans. As we strive for uniqueness, we are bound together through our humanity, highlighting the fact that we are ultimately the same.

About the exhibition, Reeder states, “I wanted to focus on how similar we as humans are regardless of our external differences and how desperately we attempt to stand apart in society. We are all composed of distinct experiences, backgrounds, cultures, fashion styles, careers, etc., yet it is all individually mashed up into a dead ringer, almost carbon copied vessel - the human body. This concept is the underlying premise of DEADRINGER.”

Please join us Saturday, December 1 from 6pm - 8pm for the opening reception of DEADRINGER. The artist will be in attendance. As an added bonus, the first 100 attendees of the exhibition will receive a free print.

This exhibition will be on view through Saturday, December 22. For more information, additional images, or exclusive content, please email us at nyc@hashimotocontemporary.com

Michael Reeder was born in Dallas, Texas in 1982, where he grew up influenced by the local skate and street culture. Drawing and painting in traditional mediums from a young age, Reeder found himself drawn to the underground, unseen, yet very public form of painting graffiti. He later moved to New York City where he received his Bachelor of Fine Arts degree in painting from the School of Visual Arts. Post-college, Michael took a job with Eyecon Studios in Dallas, Texas and learned to paint large-scale, traditional murals. These experiences fused with his early graffiti influence formed and grew into his portraiture work today. His work has been exhibited both nationally and internationally, along with numerous printed publications such as New American Paintings, Le Petit Voyeur and HiFructose Magazine. Reeder currently lives and works in Los Angeles, CA.

Laura Berger : Sentient at Hashimoto Contemporary

Hashimoto Contemporary is pleased to present Sentient - the inaugural solo exhibition by Chicago-based artist Laura Berger. Utilizing her signature glyphic style, she explores connectivity and community in her new body of work.

Concise female figures commune, dance and support one another in Berger’s acrylic on panel paintings. Each character is at once an individual totem and an integral piece of a larger composition upholding the communities created within each of Berger’s paintings.

Shadowy echos of figures mirror their more vivid counterparts, evoking a sense of history and unity as in Next Life, pictured above. These ghostly apparitions seem to lend their support and serve as a reminder of past generations.

The new paintings created for Sentient are energized with more vivid and fiery tones, eliciting a sense of power and energy. Berger’s minimalist paintings are imbued with a deep reverence for community and togetherness paired with a perceptive sensitivity that emanates hope.

Please join us for Sentient, opening Saturday, December 1st with an evening reception from 6pm-9pm, where the artist will be in attendance.

This exhibition is on view December 2 through 24. For more information, additional images, or exclusive content, please email us at sf@hashimotocontemporary.com

5 Questions with a Curator: Eileen Owens, Philadelphia Museum of Art

We were so thrilled to be able to chat with Eileen Owens, currently a Research and Exhibitions Assistant in the European Paintings Department at the Philadelphia Museum of Art. She curated the exhibition ‘Biting Wit and Brazen Folly: British Satirical Prints, 1780s–1830s', which opened at the museum earlier this year. The show will be on view for a few more weeks, until December 5th, so we highly recommend that you go and check it out!

Connoisseurs, 1799, by Thomas Rowlandson. Hand-colored etching. Given to the Philadelphia Museum of Art by Carl Zigrosser, 1974.

Connoisseurs, 1799, by Thomas Rowlandson. Hand-colored etching. Given to the Philadelphia Museum of Art by Carl Zigrosser, 1974.

Installation view. Photo credit: Joseph Hu.

Installation view. Photo credit: Joseph Hu.

Talk about your background in art and art history. Was it something that you were always interested in growing up?

Yes and no. I grew up in the southeast of Ireland, in a medieval city that was steeped in history. I would visit Kilkenny Castle often (my sister and I could probably still recite the tour now, decades later!) and loved learning about the city’s history. So, I had an appreciation for art in a very broad sense, but I didn’t visit my first art museum until I was a 17. When I moved to New York State, my high school offered an art history class, and I was immediately intrigued--I could actually learn about all these paintings I only vaguely knew about from TV or magazines. Taking that class, and having opportunities to visit the Met and MoMA on field trips, truly unlocked something in me. It was as if I was suddenly in on this secret new world--one I felt profoundly connected to.   

Even with this passion though, the understanding that I could have a career working in an art museum came to me fairly late. It wasn’t until I studied abroad in Rome my junior year of college that I committed to adding Art History to my major. The cliché of falling in love with art in Rome is true for me. I challenge anyone to live there for three months and not contemplate how important, enlightening, and continuously relevant art is in our shared history. Not to mention the sheer thrill of seeing so much beauty in one place! It was impossible to ignore.

You went on to study at Temple University for your MA in Art History. What was your focus and what did you enjoy about the program?

I studied nineteenth-century French art, with a focus on prints and print culture. I felt really supported by the faculty at Temple. The size of the program made it easy to develop solid mentor relationships with professors and some great friendships with fellow students as well. Being in an art history program that is part a renowned fine arts school—where people are creating and exchanging ideas in real time—was really appealing to me too.

Temple’s connection to Philadelphia and its arts and culture scene was also a huge influence, not only for access to exhibitions and arts institutions, but for internships and post-grad job applications, too. Being able to capitalize on that network really helped me get my foot in the door.

Tell us about how you ended up at the PMA! That must have been an exciting transition out of grad school.

It definitely was! I was very fortunate to have gotten a fellowship right out of school and to still be working at such a valuable institution now. I was selected as the Suzanne Andre Curatorial Fellow in Prints, Drawings, and Photographs, which is a two-year fellowship that I began in 2016. In grad school, I developed a love of works on paper—how they were made, how they functioned in society, who collected them—and this was my first museum position where I got to interact directly with these objects on a daily basis. Running the department’s busy study room, preparing for acquisition meetings, completing condition reports, taking courier trips—it was all vital training in the daily tasks of a curator.  

Monster Soup Commonly Called Thames Water, Being a Correct Representation of that Precious Stuff Doled out to Us, William Heath, 1794%2F95 - 1840 Gift of Mrs. William H. Horstmann, 1955.

Monster Soup Commonly Called Thames Water, Being a Correct Representation of that Precious Stuff Doled out to Us, William Heath, 1794%2F95 - 1840 Gift of Mrs. William H. Horstmann, 1955.

As part of your two-year fellowship you had the opportunity to curate an exhibition. How far in advance did you begin planning for it, what was the process like and what did it entail?

All in all, from concept to opening day, the show was in planning for the better part of a year and a half. I started throwing around potential exhibition ideas pretty much as soon as my fellowship began. I had a standing interest in caricature, having researched French satire for my masters’ thesis.  The museum’s holding of caricature, specifically British caricature, is so rich it just made sense to showcase these fantastically funny and perpetually relevant images.

I spent a long time looking through the more than 300 British caricatures in the museum’s collection. Early on, I made the choice to focus specifically on social satire, intentionally leaving out political works that might be less relevant (or understandable) to a modern audience today. What was so revealing, and actually pretty heartwarming, was how similar our collective sense of humor is now and then. What Londoners in the 1800s found funny and what we laugh about today really hasn’t changed that much. There are so many relatable threads running through the comedy of these centuries’ old prints—from anxieties about new technologies and environmental issues to the struggle to keep up with the latest fashion.

The Gout, James Gillray, c. 1745 - 1818. Purchased with the SmithKline Beckman Corporation Fund, 1949.

The Gout, James Gillray, c. 1745 - 1818. Purchased with the SmithKline Beckman Corporation Fund, 1949.

The show has been up for several months and has been extended until December, congratulations! What are you working on now or what's next?

Thank you! It has been so fun to share the exhibition with visitors. I love sneaking in the galleries and watching people, young and old, giggling at the prints!

I was fortunate enough to stay on at the PMA once my fellowship ended. Currently, I am a research and exhibition assistant in European Painting, working with curator Jenny Thompson on an upcoming Impressionist exhibition that will open in April 2019. In addition to the exhibition, we are planning a reinstallation of the PMA’s nineteenth-century permanent collection galleries too. Both are exciting projects that I’ve really enjoyed digging into!

*Photo credit for all exhibition installation images: Joseph Hu.

Alex Eckman-Lawn and Seth Clark at Paradigm Gallery

Two upcoming solo shows by Pennsylvania-based artists, Alex Eckman-Lawn and Seth Clark, opening this Friday, October 26 at Paradigm Gallery.

Fragmentation by collage artist, Seth Clark, feature new multimedia works. Fragmentation is a continuation of the artist's ongoing exploration of abandoned, deteriorating architecture; however, this featured series is less representational than his previous works. Derived most notably from found paper and wood, Clark's ambitious, intricate and delicately-worked mixed media collages aim to represent the fragmented and complex nature of architecture in decline, what he refers to as the beauty of decay.

Recessive by visual artist Alex Eckman-Lawn is the artist's first solo show with the gallery. Eckman-Lawn's latest multi-layered, hand-cut paper collages continue the artist's ongoing exploration of his anxieties and fears, recurrent themes of interest particularly focused upon the body and the weight of family history. His collages, at once precise and sure-handed, have a sulfurous glow, a magical aura seemingly rising dark and ominous from the hinterland of his mind.

About Paradigm Gallery

Paradigm Gallery + Studio® exhibits contemporary artwork from around the world with a focus on Philadelphia-based artists. Established February 2010, the gallery began as a project between co-founders and curators, Jason Chen and Sara McCorriston, as a space in which to create artwork, to exhibit the work of their peers, and to invite the members of the community to create and collect in a welcoming gallery setting. To this day the gallery still aims to welcome all collectors, from first time to lifelong, and continues to support accessible work that welcomes a wide audience.

The Courage to Enjoy It: Podcast Interview with Andrew Salgado
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On this episode of Art and Cocktails, Kat interviews contemporary artist Andrew Salgado about the inspiration behind his recent exhibition at Angell Gallery, his approach to painting, bringing pleasure back to art-making, the importance of rest for artists and much more.

Andrew Salgado is a leading young figurative painter with over a dozen sold-out international exhibitions, including London, New York, Zagreb, Miami, Cape Town, and Basel. In 2017, Salgado was the youngest artist to ever receive a survey-exhibition at The Canadian High Commission in London, accompanied by a 300-page monograph, both of which were entitled TEN

“The large scale, gestural paintings of Andrew Salgado explore concepts relating to the destruction and reconstruction of identity – a process that he views as re-considering the conventions of figurative painting through a pursuit toward abstraction. Salgado questions the nature of identity and even the act of painting itself as something monstrous, allegorical, or symbolic. Incorporating Classical archetypes alongside a wildly inventive approach to his chosen media, Salgado’s work defies categorization. Recent works include collage, mixed-media, and even hand-dyed and hand-stitched linen and canvas. ”I am interested in how my paintings operate independently from their literal figurative foundation, and how they might deconstruct through colour choices, reduction of forms, and triumph of materiality to become something altogether otherworldly.”

- Beers London

Andrew’s new exhibition at Angell Gallery, Toronto:

BLUE RAINBOW

ANDREW SALGADO

October 4–27, 2018

Ambera Wellmann Exhibition Opening at Projet Pangée

Artist: Ambera Wellmann

Exhibition title: (Wo)man and Beast in the Round of Their Need 

Opening: Thursday, October 11, 2018, 5:30 pm - 8:30 pm

Exhibition: October 11 to November 17, 2018             

Ambera Wellmann is a Canadian artist working in painting, assemblage, photography and video. Wellmann graduated from the Nova Scotia College of Art and Design (2011) and earned her MFA from the University of Guelph, Ontario (2016). She is the recipient of the Joseph Plaskett award (2016) and the recipient of the RBC Canadian Painting Award (2017). Her works have been exhibited at the Power Plant, Toronto, the Museum of Contemporary Canadian Art, and the National Gallery of Canada. She currently lives and works in Berlin. Wellmann gratefully acknowledges the support from the Canada Council of the Arts. In this recent series of paintings, Wellmann continues her investigation of porcelain as a bodily substitute and a vehicle for perversion, manipulating the sensuality of painted surfaces to blur the distinctions between material and flesh. Wellmann’s paintings hybridize a range of canonical motifs, transposing the grandiosity of historical figuration into intimately realized, darkly humorous works.

projetpangee.com

Feminist Ceramics: Podcast Interview with Jen Dwyer

On this episode of Art and Cocktails, Kat interviews Jen and learns about her creative journey, the inspiration behind her latest ceramics and her upcoming exhibition in NYC. Kat and Jen chat about overcoming creative fear, taking risks and self care. 

Jen Dwyer is a ceramicist artist who makes socially engaged ceramic sculptures and functional art objects. 

Upcoming Exhibitions: 

Not For Your Bunny, Lucas Lucas Gallery, opening Oct 18 6-9pm (On view through Nov 18, 2018). Co-curated by Stacie Lucas and Nathalie Levey.

Femme, Juxtapoz at the new brick and mortar gallery and bookstore in Jersey City (March 1st, 2019)

www.jen-dwyer.com