Corey Qureshi sees the solo exhibition of Erin Murray at Peep Projects and comments on the technique of letting the design wrap the frame of the work so it continues the theme “beyond the artifice of structures.”
Read MoreCorey Qureshi visits Big Ramp in North Philadelphia for ‘Death Card,’ the inaugural exhibit. The gallery is a project of Jacob (Chris) Hammes and others, following the “death” of Pilot Projects, Hammes’s former and beloved experimental space.
Read MoreCorey Qureshi reviews a three-person exhibit at Cerulean Arts, saying that the works take you “down any number of undefined paths,” suggesting that if you have some time to ponder it is worth your while to do so. The exhibit is up to Feb. 25, 2024, so hurry on over!
Read MoreCorey Qureshi encounters a ferris wheel in Practice Gallery whose “riders” on the wheel are stand-ins for life’s greater and lesser moments, with an implied poke at industrial capitalism and war.
Read MoreCorey Qureshi reviews the eight-person, open call exhibit, Present Tension, at Automat, and says that it’s “…a cohesively curated and fun small (yet somehow large at the same time) exhibition that examines contemporary relations.”
Read MoreOur reviewer, Corey Qureshi visits Pentimenti Gallery and comments on the exaggerated flat-land depictions by Azadeh Gholizadeh and over-the-top through the window scenes by Amy Boone-McCreesh, saying that the two-person pairing is “colorful, fun and full of ideas to pursue beyond the images themselves.” “The World Around Us is at Pentimenti until October 28, 2023.
Read MoreBranche Coverdale’s exhibit at Paradigm Gallery and Studio has paintings that are funky and “in a semi-nostalgic register,” says our reviewer, Corey Qureshi. Corey concludes that the works “use modern sensibilities to depict potentially (probably) past tense moments.
Read MoreSee Libby Rosa’s solo-exhibition at Blah Blah before it closes June 30th! Corey explores the strange mythology that Rosa creates in Vox Populi’s newest exhibition space focused on uplifting non-binary and female artists. See how Rosa sees red through a fresh and softened approach to the inherently violent term.
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