Art made of “trash” is a concept that has both political and social meaning in Material Memory. As the product of Olanrewaju (Lanre) Tejuoso’s time at The Village of Arts and Humanity’s SPACES residency, Material Memory represents several firsts for the organization. It is first time a SPACES artist’s residency has aimed to provide an intangible (rather than concrete) social impact, and the first one that has resulted in an exhibition.
Read MoreLA is full of oddities, inevitable in a sprawl so expansive and diverse–Halpern’s eye has the ability to make the native seem alien and vice-versa. An image of a smoldering brush fire on a rocky slope, for example, seems pedestrian. Elsewhere, a woman outfitted stylishly in white fur, with jarring, raccoon-eyed makeup seems dropped to earth from space. But, captured in Halpern’s close-up style, she is as believable as the next person on the street.
Read MoreElizabeth Taylor-Mead of Frieda wrote to say the cafe at 320 Walnut Street, is celebrating the art of octogenarian, Jean K. Hamburg, who has never shown her works publicly but agreed to show a selection of her life’s work and to speak about her work for one afternoon, Sunday, March 19, from 3PM – 4:30PM. The conversation will be between the artist and Anthony Latess.
Read MoreMoving between Dawoud Bey’s Harlem, USA, and Shawn Theodore’s The Church of Broken Pieces, both currently on view at the African American Museum of Philadelphia, is like shifting between worlds. Bey’s photos depict the streets and people of Harlem in the 1970s, a place that to us in 2017 seems like a lost world, his use of traditional documentary black-and-white photography enhancing that sense of distance. Theodore’s larger-than-life, staged street portraits are less documentary than metaphysical or theatrical, evoking a mysterious future through the drama of the set-piece in the street.
Read MoreThese tessellated paintings are naturalistic by an abstractly-expressive-mimetic process, a reconciliation of the human creative impulse with the superior natural forces of creation that encompass it. In other words, Whitten’s work seems to be at an ethereal place, where art production rhymes with the ebb of creation at its highest state.
Read More
