Ulises and Daniel Tucker collect and share this publication of responses to the question Why Philly? Responses add layered, multivocal dimension that underscores the many Philadelphians—experienced, understood, and navigated differently depending on subjectivity, geography, and many other factors in this deeply fractured and old city. This publication was developed with the Common Field convening in mind, with hopes that there can be a dialogue between longtime Philadelphians, new locals and visitors to the city alike.
Texts for Why Philly? were authored by Denise Brown, Rob Blackson, Vashti DuBois, Michael Clemmons & Ian Friday, Anthony Elms, Alexis Granwell, Amy Hicks, Marissa Johnson-Valenzuela, Rana Fayez, Farrah Rahaman, Theresa Rose, Meredith Sellers, Li Sumpter, Nato Thompson, Ulises, and Carol Zou.
You can download a PDF of the book here https://www.commonfield.org/convenings/1949/documentation/2884/why-philly
sindikit is a collaborative art project between Tim Doud and Zoë Charlton. We organize artist
projects, programming, and collaborations that emphasize processes and methodologies, and the
research behind the artwork created. Through individual projects and community-based
conversations, we invite dialogue about gender, race, and sexuality, and their economies. Our
curatorial project at MONO Practice continues our examination of the power of abstraction to engage
ideas about identity and materiality.
abstraction, we thinks presents work by six artists who utilize abstraction to explore the
contradictory nature of the genre itself. Their relationship with the genre moves around modernism
and the maker’s identities. The participating artists are Robert Burnier, Adrienne Gaither, Alexis
Granwell, Amanda Muhlena Hays, Clint Jukkala, and Tarn McLean.
Robert Burnier makes paintings that function as sculptures and reliefs. His material choices dictate
the ultimate read of the work as he asserts the physicality of objects and the inherent flatness of the
material to expand the field of painting. Materiality and the expectations of the picture plane confound
Adrienne Gaither makes paintings and wall installations that reflect a synthesized visual aesthetic
that challenges the modernist trope of hard-edged abstraction and the representations of
intersectional identities in media under the guise of process painting. On the surface, the work to
function as congenial to hard-edge abstraction. However, in Gaither’s hands, these reductive
paintings cleverly disguise the expressiveness of her intention.
Moving between sculpture and two-dimensional work created from handmade paper, Alexis
Granwell’s artwork calls attention to surface and flatness. She takes flat work and crafts it into
appealingly awkward things. The spaces between craft (how something is made) and form (what is
made) both announce and deny objecthood. The genesis of the work is further bolstered by
positioning the paper on shaped wood and concrete forms à la Brancusi.
Amanda Muhlena Hays’s work is processed-based and conditional--the resulting images question
the reductiveness of minimalism and the assumptions of process. Chance is privileged in her
systematic approach to these works on paper by limiting the materials that are used. The limitations of
the life of the 7 colors of Sarasa pens she uses determine the palette and the amount of time spent on
making the work.
Clint Jukkala’s paintings are playful and referential. His imagery suggests people, places, and
things; the expressive mark-making animates and invites the viewer to construct recognizable
forms. The simplification of form allows for the imaginative--the gestural qualities of marks take center
stage. The ‘goofiness’ of the work is an outcome of simplicity, underscoring what already exists in
these paintings, which is the nature of abstraction.
Geometric Abstraction and its applicability to social spaces and visual language expands how Tarn
McLean thinks about painting. Of the three works in the exhibition, two function as paintings. Her
paintings often move beyond the frame of the picture plane to integrate with existing architecture, as
wall installations, perform as textile designs, and invade the digital abstraction, we thinks, and the
participating artists, continue our conversation about the efficacy and socio-political power of
Pennsylvania Academy of the Fine Arts Curated by Alexis Granwell
February 12 - April 7, 2019
Opening Reception, February 15 (5 -7 PM)
El Anatsui/ Lynda Benglis/ Chakaia Booker/Louise Bourgeois
Judy Chicago/ Alexis Granwell/ Fabienne Lasserre/ Brie Ruais
Michelle Segre/ Joan Snyder/ Sun You
Pennsylvania Academy of the Fine Arts is pleased to announce the opening of Intimate Immensity, an exhibition of work by El Anatsui, Lynda Benglis, Chakaia Booker, Louise Bourgeois, Judy Chicago, Alexis Granwell, Fabienne Lasserre, Brie Ruais, Michelle Segre, Joan Snyder, and Sun You. Intimate Immensity will be on display in the School of Fine Arts Gallery from February 12 to April 7, with an opening reception and panel discussion February 15, 5-7 pm.
Intimate Immensity presents work dealing with touch, materiality, the sensual, and the subversive. Whether in object or image, the works in the show engage with the abstract vocabulary of the psyche, the body, memory, mythology, and the decorative. Organized by Alexis Granwell, the show features work by contemporary sculptors, selections from PAFA’s newly-acquired Brodsky Center archive, and rarely-shown works from PAFA’s museum collection.
Exhibition Text by Bea Huff Hunter:
Sitting at my parents’ dining table over the holiday and reading Gaston Bachelard’s essay “Intimate Immensity” (in The Poetics of Space, 1958) on my laptop. I know that B.’s text is your inspiration, Alexis. There are some beautiful passages: “Immensity is within ourselves. It is attached to a sort of expansion of being that life curbs and caution arrests, but which starts again when we are alone.” We are “sensitive inhabitants of the forests of ourselves,” and as certain poems’ sounds invoke “the echo of the secret recesses of our being… an intimate call of immensity may be heard.”
Have you felt “an extension of our intimate space,” as B. writes, while sitting in the presence of a living, growing tree? While shaping handmade paper, clay, or wire into a sculpture? While touching the contours of a drawing with just your eyes?
I’m crossing and uncrossing my legs, though, tangling with some of B.’s blind spots: his all-male selection of poets (Baudelaire, Rilke, Supervielle, etc.); his sense of internal largeness that seems dependent on individual aloneness; his descriptions of mental experience that do not often touch on the physical. There’s just one beautiful body-moment in which he notes that if you silently read a vowel sound—“ah”—your vocal chords will slightly tighten in response. It’s important to breathe.
In organizing this exhibition, you have reminded us of this sensing of personal depth that extends imaginatively in and out of each of us. Through the work of eleven artists, you have cast this as feminist: collective, restorative, experienced by many folk, and so, so bodily. The tactility of folds, wrinkles, lumps, curves, dots, and twists sends me back and forth in a sort of sensual conversation between my body and the “bodies” of many of the works.
As I read about the contemporary artists you selected, I came across a line by Susanna Wesley on Fabienne Lasserre’s delicately balanced sculptures: “I want to stretch with the shapes of her forms. I want to follow the delicate lines and gauge their tensions.” Some years ago, I felt similarly about a large-scale painting of a dancer by Laura Owens—and I did bend and stretch my limbs with her shapes in a grey-floored gallery until the arrival of another gallery visitor shook me back into myself. I danced, in part, because I could not grasp the painting intellectually and I felt ashamed of this; my body thought through movement.
Brie Ruais, whose large, highly textured ceramics are included in the show, said of her explicitly feminist practice: “For me, the work [is] about what happens when one’s body is overcome by a physically demanding process...We are forced to remember that making something sometimes requires the laborious use of the body.” The body stores and releases experience often through tension and touch. Michelle Segre’s fibrous three-dimensional drawing Substantial Stringata (2016) arranges objects and parts of objects—umbrella handle, saw, fan blade—that our hands know through muscle memory and trusses them into thinking webs. Your own cluster of biomorphic sculptures, Alexis—of layers of handmade linen on cotton paper stretched like skin over paper mache forms—feel restorative. And Sun You’s vulnerably small-scale sculptures congregate on a low plinth-like table, leaning, hanging, and balancing as red, orange, yellow, green, and blue painted curves surround and connect them like lines of boundary and communication that emanate from persons.
You’re the host of a gathering—one that celebrates and connects artists across generations in this bright, rectangular gallery around the School of Fine Arts’ second-floor stairwell. You have claimed a specific, expansive lineage for yourself and for the contemporary artists in this exhibition by including Judy Chicago’s Untitled [test plate from the Dinner Party, 1976] from PAFA’s collection of American art. The plate contributed to her iconic The Dinner Party (1974–79) installation that honors the creativity and power of 1,038 named women—from mythic Ishtar to Eleanor of Aquitaine and Emily Dickinson—through collaboratively made place settings and inscriptions. And the round, twitchy face of Louise Bourgeois’s The Angry Cat, 1999, which you hung diagonally opposite the plate, manifests an artistic great-grandmother at the party.
As a papermaker, you explored the collection of PAFA’s Brodsky Center, an international forum founded by Director Judy Brodsky, which enables artists with interest in paper and print to work one-on-one with master craftspeople and realize their visions in these ancient mediums through mentorship. El Anatsui, Lynda Benglis, Chakaia Booker, and Joan Snyder each collaborated with master papermaker Anne Q. McKeown on delicate, layered works that celebrate the sharing of ideas, skills, and practices. As malleable paper responds so sensitively to touch, each work registers its maker’s body and indexes a physical thinking process.
ALEXIS AND BARBARA
When you first told me that you would curate an exhibition including your own work, I thought of a tiny black and white photograph of big droopy organic imposing textiles suspended from walls and ceiling, which I’d seen in the ICA exhibition catalogue for Barbara Kasten’s 2014 retrospective. For her MFA thesis exhibition, Dimension of Fiber (1970) at the California College of Arts and Crafts, Kasten curated her woven works in shoulder-rubbing conversation with works by other artists—including U.S-based artists Sheila Hicks and Annie Albers, and Polish textile artist Magdalena Abakanowicz, who subsequently became Kasten's mentor during a Fulbright Scholarship stint. Kasten expanded herself, her community, her practice to touch all of these others.
You are present through your own sculpture’s inclusion, and I am present through this writing, which sets even more places at the table. And you’re inviting the viewer to become part of this lineage, or at least to assess their position in relation to it. And this becomes especially powerful when we think about one of your most important audiences being the students at PAFA who will come see this show for inspiration and return to their studios to work.
Bea Huff Hunter is a writer and researcher in Philadelphia, who serves on Vox Populi’s board and writes for Artforum and Frieze.
Click for the PDF version here.
October 19 - November 18,2018
179 East Broadway, New York, NY
Philip Ashley | Corinne Beardsley | Joseph Dolinsky | Daniel John Gadd I Alexis Granwell | Chris Oh | David Pappaceno | Ben Pederson I Leah Tacha I Michael Wetzel
Everybody who really lived in L.A. was linked into the trance. Everybody knew certain boulders were fake and they knew why. -Eve Babitz, L.A. Woman
Every great place has a great shared derangement to sustain it—the same way the Coyote can run on air until he looks down. In Los Angeles, land of impossible light, we are futilely, tragically addicted to believing. We will entertain all gods, ghosts, conspiracies, and lies. Because we sense our choice to come here, or to stay here, was not entirely ours. Because why not? Because how does anyone else know any better the threads that bind us or the forces that move us? Because isn’t it nicer?
Bodies of a Different Mass, in true Los Angeles form, whips up an uncanny new energy from 11 radically different pairings of East and West. Some artists in this show have never met and never will meet. Some have known each other for years, before they were working artists. Some have known each other in other lives, or will. Shelby Donnelly and Colin Patrick Smith worked together at a photo processing store in a mall in suburban Illinois. Here, they both freeze a fleeting moment into permanence. Mary Henderson’s paintings interrogate solidarity; Jacob Yanes’s sculpture radiates solitude. They were housemates for a long time. Megan Biddle and Janelle Iglesias are forever friends. Their sculptures here are almost like half-sisters, one born from humans and one from the earth.
The boundaries of our bodies reveal themselves to be illusions. People get trapped in dolls. Women lead secret lives. Artists become obsessed with visions, desperate to make them real. We create copies of ourselves. People find each other again and again without looking. A young woman liberates a jade eagle. One piece of a man is drawn, four months after leaving, mysteriously back to California, slinking off to Los Angeles to die.
For what feels to us like a little while, all 22 artists of Bodies of a Different Mass are connected here in this exhibition, at this point in space and time, drawn in by the thing that draws people to Los Angeles even when they think they hate it here. I’ve never met one who wasn’t made a believer eventually.
Adrian Glick Kudler is a writer and editor living in Los Angeles. She has been the West Coast features editor for Curbed and the senior editor for Curbed LA. Her writing has also been published in Los Angeles magazine and Best American Science and Nature Writing.
Michelle Carla Handel
Colin Patrick Smith
In times of political uncertainty, artists often question their relationship to their work and the value of their practice as it has existed and developed during periods less fraught with external tensions. Introspection versus inundation becomes a precarious compromise in the age of twitter and fast paced news updates that frequently split focus and cause doubt. The minutiae of material exploration, and the discoveries unearthed through rigorous process, and the acceptance of failures, can resonate with less clarity in the scope of critical conversation and movements for change. And one’s own practice can feel like an eddy in the current of information, spiraling inward and inert against the flow
Individual Gravities groups the work of three artists that have actively spent time in their practice, carving out uninterrupted hours and physical separation in order to do so. Conscious of operating on a slower, steadier pace, they have eschewed reactionary impulses in an eﬀort to cultivate and convey personal, steadfast perspectives. Within the formal components of their works, these artists are communicating alternative relationships to mainstream structures, namely consumerism, and by extension, the consumption of information. Positioning themselves within an alternative economy, their works reference and prop up many far flung eﬀorts of creative and socially conscious output. Poetry, music, craft, recycling, organizing, reclaiming, and an interest in creating common ground are themes presented here as innate and unshakable, emanating from unassuming and embellished objects alike.
The works in the exhibition dexterously stretch between the classification of sculpture, painting, and installation. Each artist is versed in their process, studied in their craft, and have applied traditional techniques in experimental ways. At first blush, the proximity of these distinct practices invites a casual, contemplative conversation about the nature of form via a diversity of approaches to abstraction. Dense, rigid materials achieve levitation, while paper, fabric and voluminous structures take on density and weight, rooted to their supporting planes. “Gravity” operates as an inconsistent force against these pieces, while the secondary connotation grips the works consistently.
Elana Herzog tackles installation and site specificity through a range of minimally altered materials. Each of her pieces achieve harmony with location, and illuminate the architectural idiosyncrasies of the space. Fabrics of various origins are fused together, raising the question of their history and significance, both commercial and sentimental. These works challenge the notion of finish, value, and the origin of objects with raw and second hand materials presented without hierarchy.
Alexis Granwell’s mixed media sculptures sit together as a group of dependent objects. Atop clean, hand-made pedestals, and standard construction blocks, bulbous and limb-like forms are perched at various heights. The organic masses appear to be bandaged, or armored in their skin of hand-made paper. With a surface that is heavily worked, they reveal evidence of the artist’s hand in the textured lamination, and appear paradoxically both fleshy and concrete. Granwell’s imperfect, ambiguous forms are presented as essentially social objects, strengthened by being viewed in a group. In this arrangement, their similarities become more evident and contribute to a sense of the whole.
Trish Tillman’s impeccably upholstered, modular wall works are made up of taught planes, adorned with additional, hanging materials. These elements link the separate units in the composition or counteract the perceptible pressure of the stretched surface. Trish’s works present a slick, encapsulated nod to punk, metal, goth, and sci-fi. These niche identifications are not always described as elegant and associated with high-craft. Moreover, they are often seen as separate sets of aesthetics, and subdivisions within the notion of subculture, or “other.” In Tillman’s works, however, these separate factions are presented as cooperative, unified, and vital.
Together, the works in Individual Gravities examine the need for an alternate mode of communication when the stakes are high and language may fail. Abstraction, sometimes misconstrued as decorative or mute, is meant to be understood here as a universal set of signifiers. Although their work is individually distinct and visually nuanced, these artists collectively address eﬀective methods of connection and resistance. Here we are oﬀered an alternative to hashtags and headlines, a slow fortification of one’s own voice in an enduring push for progress.
Alexis Granwell, Elana Herzog, Trish Tillman
Curated by Alex Ebstein
February 23 - April 7, 2018
Opening Reception: Thursday, March 8, 2018, 6-9PM
Philadelphia, PA - Tiger Strikes Asteroid Philadelphia is pleased to present Individual Gravities, an exhibition featuring new works by Alexis Granwell, Elana Herzog, and Trish Tillman, curated by Alex Ebstein. Individual Gravities brings together the works of three artists whose practices stretch between classifications of sculpture, painting, and installation. Dense, rigid materials achieve levitation, while paper, fabric and voluminous structures take on density and weight, rooted to their supporting planes. Conceptual and thematic overlaps subtly weave together an environment that examines material value through a personal and social lens. Reclaimed and found materials are minimally altered, presented as small monuments or added as adornments to constructed surface. While gravity acts as a force defied by this group of work, it also connotes significant importance and points to the three individual perspectives.
Alexis Granwell’s background in printmaking and paper-making inspires the inventive material sensibility and physicality she brings to her sculptural work. Adhering handmade paper to papier-mâché and wire armatures, Granwell constructs assemblages that suggest ruination, artifact, mineral, and body. The tactility of paper forms a dynamic energy in contrast to the inert quality of the industrial materials, which act as both support and remnant. Together, these materials create fragile structures that retain a corporeal presence.
Elana Herzog’s immersive works balance rigor and playfulness, engaging with the impermanence of material matter. She incorporates metal staples that embed and deconstruct found textiles into various surfaces, including gallery walls and mixed media constructions. Herzog uses materials that are non-precious, second-hand, discarded or cheaply mass-produced to consider aspects of entropy, pleasure, pain, attraction, and revulsion. Her current focus is on the global migrations of culture and technology as seen through the lens of textile.
Trish Tillman’s modular wall sculptures combine hand-sewn and upholstered geometric shapes with industrial objects, human hair, rope, and jewelry. Her materials grip, puncture, and drape over each other in meticulous forms, often arranged in perfect symmetry. These works are well-crafted but punk. Tillman’s hybrid creations suggest talismans, fragmented bodies, and ostentatious furniture, questioning notions of ritual, fantasy, and tastefulness
TIGER STRIKES ASTEROID | PHL
1400 N. American St. Suite 107 Philadelphia, PA 19122 / http:www.tigerstrikesasteroid.com
PANEL DISCUSSION AT MOORE COLLEGE OF ART AND DESIGN
Friday, November 17th 11:30 am – 12:30 pm
Alex Ebstein, Alexis Granwell, Elana Herzog, and Trish Tillman speak about their sculptural practices, artist-run spaces, and collaborating while living in different cities. In February 2018, Ebstein will be curating the works of Granwell, Herzog and Tillman in a show at Tiger Strikes Asteroid Philadelphia.
Alex Ebstein (b. 1985, New Haven, CT) is an artist, curator, and writer based in Baltimore, MD. She received her MFA from Towson University in 2015, and a BA in studio art from Goucher College in 2007. Her work has been exhibited in solo exhibitions at Cuevas Tilleard and Victori + Mo in New York, Frutta Gallery in Rome, and at SophiaJacob in Baltimore. Recent group exhibitions include L0rd Ludd in Philadelphia, Greenpoint Terminal Gallery in Brooklyn, NY, Central Park Gallery and CES Gallery, both in Los Angeles, CA, and Loyal Gallery in Stockholm Sweden. She is an adjunct professor at Maryland Institute College of Art and at American University.
Alexis Granwell (b. 1981) is an artist and curator in Philadelphia, PA. She received an MFA from The University of Pennsylvania and a BFA from Boston University.Granwell is a Professor of Art and currently teaches at Pennsylvania Academy of Art and Design, Tyler School of Art, and Moore College of Art and Design. She is a co-director and one of the founding members of Tiger Strikes Asteroid, an artist collective, in Philadelphia. She has exhibited in many solo exhibitions, including at Fleisher/ Ollman Gallery, Philadelphia, PA; Dickinson College, Carlisle, PA; Giampietro Gallery, New Haven, CT; Europos Parkas Museum, Vilnius, Lithuania;Towson University, Baltimore, MD; Arlington Center for the Arts, Arlington, VA; and Bryan Miller Gallery, Houston, TX. Other group exhibitions include Field Projects, New NY; Select Art Fair, New York, NY, IPCNY, NY; Artist-Run, Miami, FL, Guest Spot at THE REINSTITUTE, Baltimore, MD; Momenta Art, New York, NY; Trestle Art Gallery, New York, NY; Elephant, Los Angeles, CA; Hemphill Gallery, Washington DC; University of Richmond Art Museum, Richmond, VA; Fjord Gallery, Philadelphia, PA;The Print Studio in Hamilton, Ontario, Canada; SOIL, Seattle, WA; and CTRL Gallery, Houston, TX. Granwell is a recipient of The Independence Foundation Fine Arts Fellowship Grant for 2015.Through this grant, she attended a residency at the prestigious papermill Dieu Donne in New York, NY. Her work has been reviewed in The Philadelphia Inquirer, The Washington Post, The Huffington Post, The Globe and Mail, Two Coats of Paint, Title Magazine, Art F City, The Art Blog, and New American Paintings.
Elana Herzog lives and works in New York City. She is a recipient of a 2017 Guggenheim Foundation Fellowship. Herzog is currently preparing a project for Artisterium 10, an annual exhibition of international artists in Tbilisi, Georgia and for the premiere of Martha (The Searchers) a new ballet by Julia K. Gleich with décor by Elana Herzog. Herzog has had solo exhibitions a the Sharjah Art Museum, Sharjah, United Arab Emirates, Studio 10 in Bushwick, New York, The Boiler (Pierogi), in Brooklyn, the Aldrich Museum of Contemporary Art in Connecticut, Smack Mellon in New York, the Herbert F. Johnson Museum at Cornell University, Lmak Projects and Morgan Lehman Gallery, and PPOW Gallery in New York City.De-Warped and Un-Weft, a survey of Herzog’s work since 1993, was at the Daum Museum of Contemporary Art in Missouri in 2009. Her work has been exhibited internationally in Norway, Sweden and Iceland, Canada, Chile and the Netherlands, and she has participated in numerous group shows at institutions such as the Tang Museum in Saratoga Springs, New York, the Weatherspoon Museum in Greensboro, North Carolina, The Kohler Museum in Sheboygan, Wisconsin, David Castillo Gallery in Miami, and at The Brooklyn Museum and The Museum of Arts and Design New York City. Herzog has been awarded residencies at the Albers Foundation, in Bethany, Connecticut, Søndre Green Farm in Noresund, Norway, Gertrude Contemporary in Melbourne, Australia, the Farpath Foundation in Dijon, France, the Marie Walsh Sharpe Space Program, LMCC Workspace and Dieu Donne Paper in New York. She received the Anonymous Was A Woman Award in 2009, the Louis Comfort Tiffany Award in 2007, NYFA Fellowships in 2007 and 1999, the 2004 Lillian Elliot Award, the 2003 Lambent Fund Fellowship and the 1999 Joan Mitchell Award.
Trish Tillman is an artist and writer based in New York City. She received an MFA from School of Visual Arts and a BFA from James Madison University, with studies at the University of Wolverhampton, UK. She is represented by Asya Geisberg Gallery in NYC where she has had two solo exhibitions, a solo presentation at NADA NYC, and will be included in UNTITLED Art Fair Miami 2017. Tillman has also had solo exhibitions at Civilian Art Projects, Washington, DC, and the Arlington Arts Center, VA. Her work has been included in group exhibitions at Regina Rex, NY; Present Company, NY; Cindy Rucker Gallery, NY; CUE Art Foundation, NY; Emerson Dorsch, FL; and Elephant Art Space, CA, among others. She is a recipient of the Joan Mitchell Foundation 2009 MFA Grant, a 2015 Fountainhead Residency in Miami, FL, and the 2017 Jaipur Kala Chaupal Residency and Exposition at the Diggi Palace in Jaipur, India. Tillman is preparing for an upcoming residency and solo exhibition at the Visual Arts Center of Richmond, VA in 2018.
MOORE COLLEGE OF ART AND DESIGN
20th Street and The Parkway
Philadelphia, PA 19103
(215) 965 - 4000
Mark Martinez, 2017, Craving Inclusion Does Not Mean Sacrificing one's self, 48" x 32" acrylic and charcoal on t-shirt (from ongoing splayed T-shirt series)
Ortega y Gasset Projects is pleased to announce Code Switch curated by Lauren Whearty and Clare Britt. Code Switching is a linguistic term, defined by one who can go back and forth between two languages. In popular culture it has expanded to include social and identity based behaviors which may alter based on situational necessity, or proprietary cues. Code Switch will be an exhibition of 5 artists: Joeun Aatchim, Minhee Bee, Christy Chan, Alexis Granwell, and Mark Martinez, who use this multiplicity in their own visual language. This invented language comes from working through and within a variety of combinations, which come together to form a new whole. The trained and intuitive ability to shift between language and culture is imperative to artworks which dig into complex subjects ranging from identity to intimacy, navigating our contemporary existence, power and politics.
On view: November 2 - Dec 3, 2017
Opening Reception: Thursday Nov 2, 2017 7pm
ORTEGA Y GASSET PROJECTS
363 3RD AVENUE
BROOKLYN NY 11215
GALLERY HOURS SATURDAY AND SUNDAY 1PM–6PM
Excavation, Illusion + Artifact // Exhibition Statement
The three artists in this show are considering the shifting roles of the printmaking medium and the way printmakings physical and formal strengths can be employed to reveal new perspectives, phenomenon and paradoxes in the natural and built environments and the social and psychological illusions of reality that result.
Each are concerned with contradictions of form, texture and illusionistic depictions of volume and dimensionality. In varying ways, the works they are presenting in this exhibition regard ruins as spaces for examining the effects of time on material; questions the inherent nostalgia involved with representations (real or invented) of remnants of the past; and revels in our fascination with the act of uncovering.
Alexis Granwell depicts time’s movement as “ruination, artifact or geological process…exploring relationships within collections of forms.” Rejecting the notion of ruin as nostalgia, Granwell references “architecture and natural forms to diagram incompleteness or fractured time. This suggests the unearthing of the past and the imperfect state of memory but also openness to the future.”
Lauren Pakradooni makes connections between her current practice and historical Capriccio subjects in printmaking, which she describes as: “imaginative architectural spaces that often including structures in ruin or the process of deterioration. Historically, this was popular subject matter and the dispersion of these prints became a way to present these fantasies as history, inserting them into the landscape of our collective memory…It is in the spirit of these imaginative spaces that I have created a series of sculptures and prints that explore the variations between virtual or disrupted physical realities.”
Rob Swainston believes that, for the printmaker, “…the press bed is not a window of illusion, it is the space of social tinkering.” He invites the viewer to participate in an “‘archaeology of uncovering’, discerning numerous processes and images containing multiplicities of narratives culminating in an uncovering of the ‘significant image’ and the realization that ‘I see myself seeing myself.’”
PrattMWP Gallery is located in Munson-Williams-Proctor Arts Institute Museum of Art at 310 Genesee St. Utica, NY.
Tues. – Sat. 10 a.m. – 5 p.m.
Sun. – 1 - 5 p.m.
Adam Lovitz, Peter Allen Hoffmann, Alexis Granwell: Alchemy, Typology, Entropy
June 8–August 25, 2017
Reception: Thursday, June 8, 6–8pm
Fleisher/Ollman’s Summer 2017 exhibition presents three miniature solo shows by three Philadelphia artists. The exhibition title reflects respective descriptors as an entry point to tease out meaning within and across each distinct body of work.
From Press Release: Alexis Granwell’s background in print and paper-making imbues her sculpture with a unique material sensibility. Adhering handmade paper to papier-mâché and wire armatures, Granwell creates forms that suggest eroded bodies, bodily fragments, and biomorphic shapes—a fusion of Jean Arp, Constantin Brancusi, and classical sculpture by way of the entropy of millenia. Accentuating the forlorn, Granwell uses a variety of coloring techniques (spraying, spilling and brushing) to suggest lichen encrustation and erosion. Granwell’s organic forms are radically juxtaposed with the pristine, rectilinear, monochrome pedestals of wood or concrete block on which they’re installed. Granwell’s attention to the pedestal as a sculptural object equal in weight to the works that lie on top places her in the company of recent contemporary sculptors (Matthew Monahan, Huma Bhaba, Thomas Houseago, and Lisa Lipinski) who creatively explore the aesthetic function of the base (all indebted to Brancusi). Like the artists mentioned above, Granwell’s work departs from the all-encompassing aspirations of installation art that gained traction over the last 30 years and instead returns sculpture to a discrete entity occupying a more circumscribed notion of space. In dialogue with Adam Lovitz’s paintings that conjure the surfaces of ancient rocks and minerals, perhaps Granwell’s biomorphs are not ruins after all, but scholar stones placed respectfully on oddly yet carefully crafted bases for deep contemplation. In any regard, Granwell’s evocation of entropy through sculptural form resonates with Lovitz’s paintings that explore sedimentation and the passage of time, and the geometry of Granwell’s pedestals pair well with Hoffmann’s geometric abstract paintings.
Presented by Field Projects and TSA LA
Carl Baratta, Loren Britton, Vanessa Chow, Alexis Granwell, Erin Harmon, David Humphrey, Julian Kreimer, Sheila Pepe, Brian Porray, Warren Schultheis, Laurel Shear, and Christopher Ulivo
Dates: September 15th - October 29th, 2016
Opening Reception: September 15th, 6-8pm
Field Projects and TSA LA are pleased to present Risky Behavior, a group exhibition that threads together artists from each coast to create a lively visual soirée.
Tiberio Fiorillio was the boisterous son of an actor famous for his lewd rendition of the violent stock clown Punchinello. Sometime around the 1620’s, Tiberio created a new character, the cad Scaramouche. He was invented from remnants of Il Capitano, the boastful soldier and Zanni, the untrustworthy servant. Scaramouche crooned and swooned women away from their jealous husbands. He knew how to hide in a closet or under a bed whenever one came home earlier than expected. Sometimes he made it off without a hitch and sometimes he was clubbed while scrambling down a trellis. A loveable opportunist and a coward, he made fools and he was a fool.
Freddy Mercury calls him out in “Bohemian Rhapsody”: “I see a little silhouetto of a man, Scaramouch, Scaramouch will you do the fandango?" Then, “Thunderbolts and lightning”, followed by Brian May’s anthemic solo. Someone, I imagine, is left picking up the pieces behind Scaramouche, little people! Confidence without reason, confidence with cowardice, cowardice with talent.
How to caricature the collaboration of Field Projects and Tiger Strikes Asteroid, Los Angeles? Both spaces are superficially similar operations, forthright and scrappy artist-run, curator-driven galleries. Perhaps a balding Dennis The Menace crossed with an injured Laura Ingles? The match should be fruitful.
The artists in Risky Behavior each in their own way incorporate, embody or feign trouble, doubt and uncertainty. They seek to give something and sure as hell are trying to get away with something.
Tiger Strikes Asteroid is a network of artist-run spaces with locations in Philadelphia, New York, and Los Angeles. Each space is independently operated and focuses on presenting a varied program of emerging and mid-career artists. Their goal is to collectively bring people together, expand connections, and build community through artist-initiated exhibitions, projects, and curatorial opportunities. For more information visit their website at http://www.tigerstrikesasteroid.com/.
526 W 26th Street, #807
NY, NY 10001
Hours: Thursday - Saturday
WAIT FOR THE ECHO February 9, 2016-February 28,2016
Dickinson College, Goodyear Gallery, 595 Louther St., Carlisle, PA
Philadelphia artist Alexis Granwell will exhibit works on paper and sculpture.
Reception & artist's talk: Tuesday, February 9, 5:30-7 p.m.
Gallery Hours: Tues.-Fri., 3-5 p.m., Sat. 2-5 p.m.
Savery Gallery is pleased to present Pressure Points, curated by Cindi Ettinger, Alexis Granwell, Tory Savery, and Alex Kirillov, an exhibition that examines dynamic approaches to printmaking. This exhibition will feature 26 contemporary artists from across the United States whose work is at the forefront of the medium: BJ Alumbach, Katie Baldwin, Marc Blumthal, Victoria Burge, Tom Burckhardt, Deb Chaney, David Curcio, Amze Emmons, Cindi Ettinger, Steven Ford, Rebecca Gilbert, Alexis Granwell, Christopher Hartshorne, Daniel Heyman, Anna Hoberman, Nicola Lopez, Virgil Marti, Sarah McEneaney, Yoonmi Nam, Alexis Nutini, Golnar Adili, Bill Scott, James Siena, Mike Stack, Andrew Spence, and Joe Wardwell. Presented as part of The Print Center 100. On view October 9 – November 20, 2015. Opening Reception: October 9, 6:00 – 9:00pm.
I'm thrilled to announce that I received a $10,000 Independence Foundation Grant Fellowship for 2015! Here are all the winners:
- VICTORIA BURGE
- REBECCA CHAPPELL
- ALEXIS GRANWELL
- EURHI JONES
- ROBERTA MASSUCH