tag:blogger.com,1999:blog-30506486200857764052024-03-13T01:27:55.586-07:00The Director's ChairManaging an Art Gallery amidst a slumbering economy is not without its challenges. During the days ahead I'll share my journey as I carve my way through the unknown. Hopefully we'll experience the joy of success together.Karl Slocumhttp://www.blogger.com/profile/13671641427259974902noreply@blogger.comBlogger47125tag:blogger.com,1999:blog-3050648620085776405.post-31296558317702284122012-01-09T19:53:00.000-08:002012-01-10T08:26:57.940-08:00James Dinerstein - The Deliverer<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQbjnUQ5VwwZgANuuEpcQTJeJINvXjadbqpmyZOMY15l4uz5dswv8we97N0f26dC1gdqCSoW9Mm024_PFtH35nPsOFinottXCX5HzHf8WuwouaamhxZuaMF9APMfZmkRuA9ge1bPRGGhmm/s1600/photo3.jpg"></a><br /><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2erunrZgZT0lvcd25KMoFbR1mw1h-oYB8eKkTYJ5wPlCzUEp5qqlCFShYiEA2XvR7-ztYUk9QknO9qUA2_5N88CBaj-H6atOIJUt0WG8s-SiYQOdfcNfnrKL_XJ1qrAAVyzVpE3yZoK-X/s1600/photo+2.jpg"><img style="MARGIN: 0px 10px 10px 0px; WIDTH: 320px; FLOAT: left; HEIGHT: 180px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5695846812513663986" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2erunrZgZT0lvcd25KMoFbR1mw1h-oYB8eKkTYJ5wPlCzUEp5qqlCFShYiEA2XvR7-ztYUk9QknO9qUA2_5N88CBaj-H6atOIJUt0WG8s-SiYQOdfcNfnrKL_XJ1qrAAVyzVpE3yZoK-X/s320/photo+2.jpg" /></a><br />Jim Dinerstein, sculptor, re-introduces vital visual language long forgotten. Using redefined origins of form, line, shadow and light - traditional tools yielding non-traditional results; truth excavated from obscurity -undeniable truth from on High - high relevant language meant to redirect our conversation to higher thought - an emphatic and long awaited ending to this present cyclical meandering, muddled and noncommittal era of contemporary art. Yet, a return to beginnings, to the master key of sorts, we regain firm footing in the light of his committed, dominating and upward thrusts of respite. Albeit challenging in their <em>alienesque</em> orientations, Dinerstein’s renderings demand acknowledgement.<br /><br />Seemingly and possibly mined bits and fragments of the stone tablets lost at Mount Sinai, eroded and fashioned by tumultuous heavenly elements, Dinerstein unleashes the power of creation; creation from beyond our ken. Off kilter in their balance, weighted paradigm shifts forcing an accommodation of this misunderstood substance, we are left pondering questions of origin, makeup. Understated purity, devoid of contaminating dross, surreal serenity buffeting the undeniable incalculable and inescapable force generated within and without. Challenging proven notions of physics, defying earthy pull, pervasive predominant and miraculous <em>lunaresque</em> hovering overtakes reality. Push and pull, relentless in their drawing, elements beyond this world emanating vibrations beyond conventional oscillatory measure. Paradoxically pulsating calm intensity awaiting imminent <em>kairos</em>; perfection meeting destiny.<br /><br />Visible and tangible chunks of wisdom, <em>symbology</em>, and divine energy harnessed through commitment of vision, foundational language is birthed character by character; its efficacy dogmatically hidden within fold and layer of fundamental doctrine long since lost to the new morality. - Chunks of language - fleshed-out voice and the rhyme of remembrance, reemergence and yearning. – Innate rhythms reverberating melodious harmonies of our essence; the language of deliverance and freedom. <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7HW53S0UwE0tK9I_fzpZu_90HYD7-YLMPT3U7Hv-JjFUneFaTn-5gu980zo5cw21snFXFJkrdMaa7B5F7iKeZ2jJI3jWmxIuq-qlXu73SYBiiCQN8zFnLV6JxI8TKSUuoecIbnhQuLe1o/s1600/photo+1.jpg"><img style="MARGIN: 0px 10px 10px 0px; WIDTH: 320px; FLOAT: left; HEIGHT: 180px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5695847082814651762" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7HW53S0UwE0tK9I_fzpZu_90HYD7-YLMPT3U7Hv-JjFUneFaTn-5gu980zo5cw21snFXFJkrdMaa7B5F7iKeZ2jJI3jWmxIuq-qlXu73SYBiiCQN8zFnLV6JxI8TKSUuoecIbnhQuLe1o/s320/photo+1.jpg" /></a><br /><br />And despite the dominance of sheer physical weight, a weighty burden even, his anointed works are released with the resounding lightness of truth. His truth? Never let it be said, rather the mouthpiece of deliverance to the discerning eye. The Deliverer, Dinerstein the long awaited messenger bearing good news that “we are not alone;” these chunks empirically evidencing that our Creator yet lives and communicates with us providentially and preeminently. Dinerstein, cloaked in the hush of benevolence, laden with elements divinely inspired from on high, offers relief from the raucous cacophony<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihyphenhyphenZ_mj6KgEzhfGcRPyVFPcu8eIMBUMYrHYosaK79LrhhupRCmu2J-dpPJOK1kcKfhZYOAgjeg6X9bnYYY-117mUynp08yqZqqv7oLQfcVK_QP4gM2wkB-19CLNWhj5ghCumy4IpVajb7D/s1600/photo3.jpg"><img style="MARGIN: 0px 0px 10px 10px; WIDTH: 320px; FLOAT: right; HEIGHT: 180px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5695846959116692354" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihyphenhyphenZ_mj6KgEzhfGcRPyVFPcu8eIMBUMYrHYosaK79LrhhupRCmu2J-dpPJOK1kcKfhZYOAgjeg6X9bnYYY-117mUynp08yqZqqv7oLQfcVK_QP4gM2wkB-19CLNWhj5ghCumy4IpVajb7D/s320/photo3.jpg" /></a> and aimless void of Contemporary art. <em>Dispensationally</em>, the genesis of grace, Dinerstein’s voice cries out in the wilderness, a new frontier awaiting migration to a higher ground; hallowed ground.<br /><br /><a href="http://jimdinerstein.com/">http://jimdinerstein.com/</a>Karl Slocumhttp://www.blogger.com/profile/13671641427259974902noreply@blogger.comtag:blogger.com,1999:blog-3050648620085776405.post-30857948002111181222011-09-12T07:12:00.000-07:002011-09-12T07:34:49.005-07:00He’s back -They’re back; The Dynamic Duo Strike Again.Chris Callahan comes to town and things always get exciting; it just what he brings. Success with Chris validates our proven formula: Offer each collector, each designer, business or homeowner only world class art - priced realistically and an accessible committed painter. We’ve sold 13 Callahans. Above and beyond gallery sales, I own 9 in my personal art collection. I’ll only exhibit paintings that I’m willing to buy. Just by the numbers, Callahan is my number one painter. Facts are facts; truth. <br /><br />My standard definition of truth is <strong><em>that which can’t be denied</em></strong>. The absolute nature of truth demands a volitional response. Usually on a grand stage, observance of truth causes change. The value of truth, as a commodity, however is difficult to assess. Our Investments, whether be it our time or other resources, acknowledge our priorities. Acquisitions of our treasures reveal the true nature of our hearts. Whether we are poor or “blessed” with means, this account reconciling holds true; more truth. <br /><br />Present truth - collector and buyer activity in Philadelphia’s Fine Art Community, at the local gallery level, is near non- existent; near extinction. Galleries are closing as we speak. Confirmed closing of Philadelphia’s “long-term” institution, the Sande Webster Gallery, is endemic of our current plight. And as the existence of our galleries wane, the “Co-op” gallery remains seemingly the last avenue for artists to “buy” exhibition space. On the average, the co-op artist here in Philadelphia is spending $1,200.00 yearly to exhibit their art for a month, once a year. In Philadelphia, there exists a unique division of perspective regarding our Fine Art Community. <br /><br />I’m not the only one believing there is a disparate and significant gap between what is viewed as Philadelphia’s thriving Art community and the reality at street level. The Art community at the other end of town vastly differs than the face of our art community here in Old City. The tourist visiting the Art Museum and soon to be Barnes Foundation sees and views these as the wealthy components of a sound infrastructure; Philadelphia’s visual arts scene with theater and Live Entertainment is not a catch-all including Fine Arts. Our healthy list of Art Schools would lend one to believe we as an art community harvest a fair percentage of these graduating students. <br /><br />The misnomer – “there are many young artists here in Philadelphia” - is born of undeniable truth. Scratching below the surface reveals greater truths. Despite increased enrollment at Moore, Tyler, PAFA and others, Philadelphia relinquishes that youthful population to attrition. Sales-Dollars expended in yearly graduate shows from these schools are in-house and alumni specific, students take their share of the proceeds as they leave across the state line, the schools portion remains within the institutions, seemingly islands unto themselves. Consequently, this money never reaches the street-level Philadelphia Fine Art Community. In a piece I wrote early in 2009 called “Support our Troops” I noted the efforts of Ryan Buffington, MFA student at the Pennsylvania Academy of Fine Arts in his attempt at making some in-roads here in Philadelphia. Ryan recently graduated taking his near twenty thousand dollars in sales from the “annual” graduation exhibition back home with him to Utah. Before hitting the highway, he came by to share his good fortune and to verify the veracity of the many conversations we had shared over the past two years. “There is nothing to keep me here. There are no income or career generating opportunities that can entice me to stay.” <br /><br />Consensus among Philadelphia’s gallery directors and owners attributes decline of our gallery presence with limited career building and income generating opportunities for the young artist here in Philadelphia. The subsequent and resulting weakened Philadelphia Fine-art infrastructure negates contiguous sales of Philadelphia-made artwork. Philadelphia’s remnant professional painters suffer from limited exhibition spaces. Buyer and collector confidence at a minimum, in part because of it close proximity to New York, weighs in the balance as root issue in our re-birth. New York, by virtue of its long running history as the heart of the World’s art market with seemingly unlimited exhibition opportunities, despite the universal effects of a downturned economy gets the Lion share of “Collector Confidence.“ Consequently, selling the $10,000.00 painting is the exception rather than the norm. Re-gaining confidence in “Philadelphia-Made” art is JOB One. <br /><br />Roger Lapelle of the Lapelle Galleries and I talk a bit. We agree times are tough. We also agree our collective efforts in holding off the demise of Philadelphia street level Gallery are not in vain. Lacking exhibition spaces Philadelphia artists are left with slim and alternative means of showing their work. An exhibiting here at Knapp took to me to a fitness club downtown that showed art by many Philadelphia painters. Bottom line, high end art here in Philly is channeled through non- conventional means. Lobbying local businesses to exhibit Philadelphia-made art is foremost on the agenda of all Philadelphia artists. Window dressing at Daffy’s the same. <br /><br />Personally, my treasures lie in my art collection, including 10 paintings by Ashley Flynn, 9 mono-prints and two paintings by Alfred Ortega, the aforementioned 9 Callahans, 10 awesome collages (a complete single body of work) by Linda Garfield; ones, twos and threes by Matt Baumgardner, Petros Pappalas, Marjorie Grigonis, Nancy E. F. Halbert, Liam Dean. A small collection by many standards, these paintings reflect my personal commitment to art, and on a micro level, my commitment to Philadelphia-Made Art. <br /><br />I am not alone. Local collectors JR and Traci Wolbert demonstrate similar commitment. On a larger scale, actually more like the type of commitment we’ve seen down through history; seemingly, average everyday folk, yet with some silent hidden agenda. There are always stories behind art acquisitions, beyond the typical gallery sale. We have all heard and know the big art acquisition stories. Hey, we are Philadelphia; the infamous Barnes acquisition is history. The Dr. Barnes - Violette de Mazia story is history. These are facts; more truth. The bible says that a storm first announces itself in a distant rain cloud. Today, Traci and JR are that rain cloud; even a rain cloud of hope. If the best ingredients make the best cake, these two neo-philanthropists are Philadelphia’s best ingredients for change, for rebirth, for renewal. They do things differently, methodical with intent. Regularly, you will see Traci carrying bags of lettuce for Benjamin, her black rabbit, but trust me she is on a mission infinitely more significant. JR, seemingly nonexistent, like a vampire, shows up only after dark. They are a different breed. In fulfilling their vision, they search for truth. Someday, a by-line in Philadelphia history will recount their efforts as the nudge that breathed life back into Philadelphia Fine Art.<br /><br />An Old Testament theme, “And their word is their bond,” seems an appropriate foundation for their house of reform: One’s word as their bond - one’s “word” as binding, like that of a contract. A concept and notion quite remote from our current waffling of values, JR and Traci are big on integrity. Albeit often misunderstood these two altruists are about fulfilling a vision they have for Philadelphia. Their commitment to deliver us a “new” Art Community, though seemingly a soft peddle is firm and in your face. They evidence this commitment in both word and action. Like strong current that runs deep, their quiet influence already apparent in their ability to rally believers to the beat of their drum. Power and influence is often demonstrated in non-traditional methods in bringing people together. <br /><br /><br />Likewise, JR and Traci employ such non-traditional measures, recently promoting an impromptu MS benefit event at the Swanky Bubbles and the Dalet Gallery; the dynamic duo shelled out $25,000 to resident Russian painter Valera Ishikov $25,000 and of the Dalet Gallery and $6,600 to Oliver Wright. Not a lot of bells and whistles or press just a grass roots approach to bringing people together; just results. The “Dynamic-Duo” is results-oriented. Demonstrative of a monster sized commitment to the Philadelphia art scene, it is impossible for me to stand aside impassively and not comment on what is happening in my backyard. After all, what occurs over on 2nd street has a dramatic impact on my economy here on 3rd street. Seemingly single-handedly, the Duo is supplanting status quo expectations with redefined tenets of acceptability. What is acceptable? <br /><br />Acceptable is the notion that Philadelphia “Arts and Culture” would take on a sense of inclusivity. Acceptable is an open dialogue with Philadelphia’s decision makers towards healing our ailing Old City Art District. Community action organizations notwithstanding, Old City Arts needs help from downtown; in fighting and squabbling over street vendor presence as a deterrent to tourism here in Old City is endemic of our fractured and myopic perspective. The significant disconnect between the money makers and the decision makers are apparent in our limited, discounted and impotent voice. On numerous occasions I’ve contacted Mayor Nutter’s office with proposals of change; no response. Not deterred easily, I have personally walked through the doors of the “Arts and Culture” office, Headed by Chief Cultural Officer Gary Steuer. Never available to receive me, I sent my proposals by hand with new “golden” boy Elijah Dornstreich of the Fourth Wall Art Salon. Steuer’s reply required the document be condensed into bullet form. Complying, I’ve still not received a response. <br /><br />The document presented developed an industry utilizing exclusively the graduates of Philadelphia’s Art Institutions: <br /><br /><strong>The New Philadelphia Fine-Art Registry<br />White paper – Draft<br />Long Term Proposal: Accommodating MFA post graduation attrition</strong><br /><br />Philadelphia’s significant concentration of Fine-Art Schools lacks sufficient back up in career building opportunities for its MFA graduates. Consequential loss of potential “professional” artists has stymied growth and tainted the reputation of Philadelphia’s “Fine-Art” Community. At street level this translates into limited art buyer/collector confidence.<br /><br />Remedy:<br />• Establish and promote the “Philadelphia Fine-Arts Registry.”<br />• Establish and publicize an annual Economic Development Grant funding source-based on a “Training” initiative.<br />• Create 5 municipally owned or business cooperative “Exhibition” spaces for Registry members called registrants.<br />• Create a self-contained registrant managed and marketed City-Wide industry with “Genuine- Philadelphia – Made” branding.<br /><br /><strong>Philadelphia Fine-Art Registry</strong> is an internet searchable repository of MFA graduates and houses the components of a new municipal self-contained and self-sustained industry. Operating funds from exhibition admissions, membership dues, painting sales and printing sales maintain employment generating opportunities for registrants. The registry increases undergraduate and post graduate art school enrollment. <br /><br /><strong>As an Economic Development Tool</strong>, Philadelphia Fine-Art Registry qualifies for federal and or state training funds/grants. Training funds entice relocating firms, offset costs of workforce training, provides registrant employment opportunities and generates municipal publicity. <br /><br /><strong>Registry Galleries</strong> guarantee registrants’ exhibition space, employment opportunities, additional municipal revenue, increased First Friday traffic, a wider commerce perimeter and increased tourism opportunities. Alternative Registry exhibition spaces are developed through participating businesses. <br /><br /><strong>Introducing “Genuine- Philadelphia – Made” branding</strong> /marketing establishes significant registrant employment /revenue generating opportunities, promotes the MFA initiative, increases municipal publicity and promotes tourism. <br /><br />Chris Callahan and many other “Outsider” Journeymen painters here in Philadelphia are not products of our Art Schools. However, they make up the bulk of our professional representation. JR will tell you Callahan and Valera are his two heavyweights, owning a few by each painter. JR’s support of Callahan and Valera’s artwork evidences commitment at the local level. In His way of thinking, like a boxing match, JR would like to see a public face off between the two. In his truth, he believes these two painters are two contenders for the history books. <br /><br />It is impossible to not take notice of a Chris Callahan. Truth - Callahan paints like a maniac. He paints like there is no recession, as if he were a $300,000.00 dollar a year painter. He paints large, uses lots of paint and paints non-stop. In his exhaustive studies of a subject, theme or geometry I have seen Chris paint 7, 8 and nine paintings of what some would seem to think are the same painting; trust me, they are not. Dogmatic in his doctrine, Chris, like a preacher, drives home with assertiveness his contribution and commitment to the craft. <br /><br />I am told there is no truth in art. Illusive in its value, we struggle to reconcile the intangibility fine art sales and notion of the Art Industry as a sustainable economic contributor. The numbers don’t lie. From the art materials industry, the art school industry through to the innumerable art professions there is an undeniable percentage of contribution to world, national and state economies; albeit and considered subsets of primary categories like Health, Finance, Entertainment. Despite History’s assertion - above certain income levels, art acquisitions make-up 15 to 35% of personal household budgets, there is a disproportionate perspective here in Philadelphia. <br /><br />Choosing for art above other commodities, to a degree, a commitment borne of higher consciousness acknowledges the value of the lives of those creating the art. Despite our history which includes a genre appropriately named “The Philadelphia Impressionists,” we have waned in our regard and support of our roots. Our continuance and survival is contingent upon rebuilding our failing infrastructure. We need the JRs and Traci Wolberts now more than ever. It is impossible to escape the results of success. Success by nature is an attractant; folk gravitate to the successful, at least those that appear successful. While appearances can be deceiving, numbers don’t lie. Selling and buying paintings engenders confidence.Karl Slocumhttp://www.blogger.com/profile/13671641427259974902noreply@blogger.comtag:blogger.com,1999:blog-3050648620085776405.post-70892816109964990892011-05-05T18:44:00.000-07:002011-05-05T18:57:20.542-07:00Razza and the Crates -<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRaejr8gsx_2i4TBhyGiOwn0ahzBh0VUbpImhKTbs2b5Bbldm5a-OJLXZwNjvCMOAY2Q0jnjrZq6NM4oIsDtGTRAJhC6rs_zktMduDEmmKPXKGnswaX2jgwf7NruAj5bUbRyXTfpopjYOt/s1600/razzcrate2.jpg"><img style="MARGIN: 0px 10px 10px 0px; WIDTH: 200px; FLOAT: left; HEIGHT: 150px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5603416011906192642" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRaejr8gsx_2i4TBhyGiOwn0ahzBh0VUbpImhKTbs2b5Bbldm5a-OJLXZwNjvCMOAY2Q0jnjrZq6NM4oIsDtGTRAJhC6rs_zktMduDEmmKPXKGnswaX2jgwf7NruAj5bUbRyXTfpopjYOt/s200/razzcrate2.jpg" /></a><br /><br /><div><br /><div><br /><div><br /><div>Hanging a "long distance" show is not without its unique challenges. There is always an unexpected. This phenomenon holds true with my Razza show.<br /><br />It has been forever since I’ve seen this work. Ed Mero of PrestigeArt flew me to South Florida to see the “World of Razza”. His work hung at a museum, medium size galleries, schools and restaurants; we had dinner at an awesome Cuban Restaurant; stopping along the way to meet some of Eddie’s people. I saw remarkable art. At<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjebYhFBEUgqBWtwJA6PkBGQsJxd2s118uyZ-HL4ERVjLPFZwPuxOT49gShfUWmI-zWUgNTO-DEg9_vr-R0jPWITNOqFC_oI0_q87xSjX1sbU_CUqzfBz1CJm__t-3I0L3TukTMcPqT4Iy5/s1600/DSCN6809.JPG"><img style="MARGIN: 0px 0px 10px 10px; WIDTH: 200px; FLOAT: right; HEIGHT: 150px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5603415140648246034" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjebYhFBEUgqBWtwJA6PkBGQsJxd2s118uyZ-HL4ERVjLPFZwPuxOT49gShfUWmI-zWUgNTO-DEg9_vr-R0jPWITNOqFC_oI0_q87xSjX1sbU_CUqzfBz1CJm__t-3I0L3TukTMcPqT4Iy5/s200/DSCN6809.JPG" /></a> warehouse size galleries, art from Botero, Warhol, De Kooning, Modigliani and everybody in between; South Beach, Ft. Lauderdale to Miami. From wholesale to retail to private dealers, I peeked and pushed. Hitting it hard, day and night we pounded away painting by painting. One will be amazed when peering into the nook and crannies while at special places. Looking at tons of art dealers, Eddie’s tour of Arts in Miami was without equal. I saw it from the inside out. At one particular wholesaler, this cat had art from floor to ceilings, like 14 ft ceilings awesome art starting from $500.00 to $1,500,000.00. Razz’a work hung on walls along with all your conceivable heroes. Eddie’s tour reminded me that art mostly is a meritocracy. One must earn ones way to the wall.<br /><br />Today, only <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgE_93AiNg5x6hgiH0CByD_aX6ZgS7DxPRMB93JPXF0xpzxCRJlh4u5i1ALL_r9Lq7rkE-G3e_1VnqQL1TSvLkyZiU0WkJ8tkjX1FmtFY5rZdq4dXRu46XVtYI55NJ3ydxCRIINDytdI0G-/s1600/razzcrate2.jpg"><img style="MARGIN: 0px 10px 10px 0px; WIDTH: 200px; FLOAT: left; HEIGHT: 150px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5603414159605233874" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgE_93AiNg5x6hgiH0CByD_aX6ZgS7DxPRMB93JPXF0xpzxCRJlh4u5i1ALL_r9Lq7rkE-G3e_1VnqQL1TSvLkyZiU0WkJ8tkjX1FmtFY5rZdq4dXRu46XVtYI55NJ3ydxCRIINDytdI0G-/s200/razzcrate2.jpg" /></a>a day away from game day, I’ve spent a few hours hanging the work, work that I have not seen in what seems like years. Tossing around jpegs is nothing like the real thing. As a painter, Razza gives it all to you. You can’t see that in a photo. There are multi elevations to each painting because of the thickness of the paint skins. The “Gearilla” paintings are demonstrative in their gearness, just as the paint skins are also in their silkyness. In their own rite, th<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgICcOH9goELdwrDEcWuFBp8eOm4lS31HP9yPB2FJwP0kbhKDLetcG72xUzbdP24ovAAlfw4SMrJJg_9LnIOibjFLohGZaj0u68yUrB2m1K1jcKts1PCcaJV8TdIhNXKx-fYgsF-Jqi4gx4/s1600/DSCN6790.JPG"><img style="MARGIN: 0px 0px 10px 10px; WIDTH: 200px; FLOAT: right; HEIGHT: 150px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5603415622387481058" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgICcOH9goELdwrDEcWuFBp8eOm4lS31HP9yPB2FJwP0kbhKDLetcG72xUzbdP24ovAAlfw4SMrJJg_9LnIOibjFLohGZaj0u68yUrB2m1K1jcKts1PCcaJV8TdIhNXKx-fYgsF-Jqi4gx4/s200/DSCN6790.JPG" /></a>ese are the most luscious paintings you want to imagine.<br /><br />Here are a few photos just out of the crate.<br /><br />Oh, the crates!!! That was the unexpected thing! The crates are too big to fit in the basement. I'll have to figure that out inb the morning. </div></div></div></div>Karl Slocumhttp://www.blogger.com/profile/13671641427259974902noreply@blogger.comtag:blogger.com,1999:blog-3050648620085776405.post-91273280072612991392011-05-05T08:48:00.000-07:002011-05-05T08:50:23.196-07:00Al Razza - Enough SaidFor Immediate Release<br />Contact: Karl Slocum<br />609-402-5917<br />karl@knappgallery.com<br /><br />The Knapp Gallery Presents:<br /><br />Razza In “New Work”<br /><br />First Friday Opening: May 6th, 2011<br />Exhibition Dates: May 6th – May 29th, 2011<br />Artist Reception: Sun. May 7th (1pm – 4pm)<br /> <br />I’ve seen Razza’s work hang alongside Chagall, early Warhol and other masters, both old world and contemporary. His imagery, vision and sense of color command our committed acknowledgement.Karl Slocumhttp://www.blogger.com/profile/13671641427259974902noreply@blogger.comtag:blogger.com,1999:blog-3050648620085776405.post-17404173567915043002011-02-03T10:46:00.000-08:002011-02-04T10:04:40.647-08:00MZB - Paint by Color - Part 3At what point are you willing to put your beliefs on the line and vote with your feet? You know, stake all with no safety net; put all your chips on one number? Sound a bit dramatic? Life is dramatic. Well, that’s where we are. Margaret Zox Brown’s <em>Paint by Color </em>exhibition is the dividing line of my career. Clearly my last two blog entries regarding this body of work evidence significant literary departure from my standard critiquing format. Why the change? Choice. When finally we are willing to risk all for our beliefs, passion becomes the mainstay of our diet. Why else offer our necks to the guillotine? <br /><br />Only the Director here at Knapp, I am responsible for carrying out the directives of the owners, Barclay and Rebecca Knapp. And While I enjoy certain measures of autonomy, keeping these privileges requires results and execution of their vision. Forsaking safety, protocol and possibly relationship, in the name of exceptional art, I have made an executive decision that is outside their consent. The Knapp’s like Margaret’s paintings a lot, however with the caveat that they are expensive for the Philadelphia market. <br /><br />Holding to my Grandfather’s adage, “No risk no reward,” I have placed my head into the mouth of the lion. Forging ahead, without the Knapp’s blessing, contrary to their vision, I have hung Margaret’s show. No, this is not blatant disregard for their authority. I have remarkable regard and respect for their perspective. I am more than appreciative of the opportunity they hey provided for me, and their trust in me to meet the responsibilities of my position. This is not a struggle for power. This is however an exercise in “voting with my feet.” Putting oneself in Harm’s way demonstrates commitment. In the end, isn’t that what making art is all about; a demand for a committed response.<br /><br />An outspoken champion for the Philadelphia artist, I find in remarkably ironic that it is for a New York painter that I have drawn my line in the sand. Ultimately, the line represents great art. If I am not willing to take a hit for world class art, than I need a new occupation. Let’s get serious. This is about livelihood, for the artist, the gallery – everyone involved. There is no time for passivity. As a Director, I would be remiss if I withheld this exhibition from Philadelphia based on price alone. Is Philadelphia worthy of my commitment? I don’t know. In the end, I have to face myself in the mirror and live with my decision. <br /><br />My decision, more than being about Philadelphia, is about the value of fine art and the opportunity to promote the finest artwork available. Folks, in my estimation, this is some of the finest art available. I am staking my reputation on it.Karl Slocumhttp://www.blogger.com/profile/13671641427259974902noreply@blogger.comtag:blogger.com,1999:blog-3050648620085776405.post-21346245412619734782011-02-02T12:56:00.000-08:002011-02-02T13:07:27.673-08:00MZB - Paint by Color - Part 2Margaret’s work arrived about an hour ago. In an instant the world came to a standstill; all else has been put on hold. While the paintings are leaning against the wall, patiently awaiting their imminent wall positioning, I sit on the floor as a parent with an infant. I caress the paint as if to convey my affection; their warm glow satisfying my need for acceptance. Still in contact with the ground, not yet exalted, they maintain an element of settledness; at rest. The remainder of the day, I can’t do much else than just walk around gawking at my treasure; my pieces of gold. They are all mine, well, at least for a month. <br /><br />I had forgotten the richness, the luster and depth of the paints application. It has been more than a year since I first stood in Maggie’s New York studio. That day, literally I wept at the enormity of the well from which I had been called to drink; her delicate hand on my shoulder, acknowledging the moment’s power. This is the meat of my memory; remembering the moment. Briefly, we stood silent, Maggie and me, sharing the dynamics of our fortuitous meeting. It is all about the moment. <br /><br />Resigned to the facts, we are held to the arithmetic of our existence. A moment is passed seemingly before it has begun. Back in mid ’09, MZB seized her moment; it was First Friday here in Old City Philadelphia. With confident strides she walked into the gallery and up to me asking if I was Karl, the Director. Barely had I made the acknowledgement before she deftly interjected how her work met our vision at the Knapp Gallery and that her work fit. With pointed and final punctuation - “I want you to exhibit my work here.” <br /><br />Good Paintings, just like profound words, beyond description only, make account of significant moments. We are amidst one such moment. Outside, we await yet another winter storm, some believe of blizzard proportions. However, the golden-white-hot-yellow hue of MZB’s palette shines brightly from within this space, as if the Knapp Gallery had captured the sun. Taking in this brilliant light, a radiant glow tuned keenly to a wavelength akin to 1000 watts, we are bathed continuously in a visceral and visual balm; yes there is healing.<br /><br />Maybe that’s what’s so taking about these paintings and the vessel by which they were painted. Beyond the color, the love, the care, there is a remarkable profound sense and understanding of light.Karl Slocumhttp://www.blogger.com/profile/13671641427259974902noreply@blogger.comtag:blogger.com,1999:blog-3050648620085776405.post-73742582600328033192011-01-13T17:23:00.000-08:002011-01-14T09:47:40.764-08:00Margaret Zox Brown - Paint by ColorFor Immediate Release<br />Contact: Karl Slocum<br />267 455 0279<br /><br />Exhibition Dates: February 4h – February 27th, 2011<br />First Friday Opening: February 4th from 6:00 – 9:30 pm<br />Artist Reception: Sat. February 5th, 2011 (1pm – 4pm)<br /><br />(Philadelphia) – The Knapp Gallery continues its tradition of First Friday open<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjquKbFSc8zTpz4nqJZS3I48UL3DTilKGGTcLlk7yu2TO5mqjTMOtHeZ9sZJzdlSj_RLF-QW8Tic-C43ncR4WlPwTWmqD8quabjBZUYNy4ANhFr5pmCOkcAYZFRkO55rFNGUReq4L2p3dja/s1600/In+The+Couch%252C+56x70+-+Oil+On+Canvas+2009.jpg"><img style="MARGIN: 0px 0px 10px 10px; WIDTH: 200px; FLOAT: right; HEIGHT: 164px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5561863007093391330" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjquKbFSc8zTpz4nqJZS3I48UL3DTilKGGTcLlk7yu2TO5mqjTMOtHeZ9sZJzdlSj_RLF-QW8Tic-C43ncR4WlPwTWmqD8quabjBZUYNy4ANhFr5pmCOkcAYZFRkO55rFNGUReq4L2p3dja/s200/In+The+Couch%252C+56x70+-+Oil+On+Canvas+2009.jpg" /></a>ings and welcomes Margaret Zox Brown in her solo exhibition, Paint by Color. Her work hanging in nearly 75 private collections, and many institutions, Margaret, MZB , or Maggie, depending on your relationship, has command of her craft. Paint by Color a reference to “paint by number”, says exactly what she means; color is everything.<br /><br />MZB’s <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjp3MnFPJkHth5UdeOK6TrWE_3QFcVZKDqzKut91K0cOqtYZsAHp0W0Cpk1z8rhBvw57SNosTmA2f32REBBLeqprorq1RXxR3tnicT3mrKjgSADq5QubwO6wbohWngE260IsAUvx3JCwVBi/s1600/Feet%252C+40x30+-+Oil+On+Canvas+2010.jpg"><img style="MARGIN: 0px 10px 10px 0px; WIDTH: 150px; FLOAT: left; HEIGHT: 200px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5561863332968300290" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjp3MnFPJkHth5UdeOK6TrWE_3QFcVZKDqzKut91K0cOqtYZsAHp0W0Cpk1z8rhBvw57SNosTmA2f32REBBLeqprorq1RXxR3tnicT3mrKjgSADq5QubwO6wbohWngE260IsAUvx3JCwVBi/s200/Feet%252C+40x30+-+Oil+On+Canvas+2010.jpg" /></a>focal point and journey is the exploration of color. All else is tangential. Not diminishing the power of their content, her imagery, objects of subject and matter are near incidental; though always familiar, subject/object are revealed through journey of the paint on the canvas and color. Resulting opportunities, imagery becomes ancillary vehicles by which accentuating color is dispersed, often an exercise in dispelling traditional ideals of the still life. Intellectually, color as object illuminates the spirit, soul or grace an object’s line.<br /><br />Painting the reflection of her essence, gifted with the ability to translate and interpret the very nature of her character, emotions, likes and dislikes, through color she disrobes for us layer after layer, exposing an intimate glimpse into her makeup.<br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj16Ha3WEVHNW6_kBoCkBMnGFswiuuRRvrPkI8Hcf8ANfJVpWvovnCKjD9w3MxpjlBjk5G4kxCyKEAiipQG-2eICjywP0UHxG0DE-PLm70RxSeMb4ICTZHRmo4FMn2BvwUjol9IjggeQqCQ/s1600/Soft+Son%252C+66x56+-+Oil+On+Canvas+2009.jpg"><img style="MARGIN: 0px 0px 10px 10px; WIDTH: 172px; FLOAT: right; HEIGHT: 200px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5561863766439313634" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj16Ha3WEVHNW6_kBoCkBMnGFswiuuRRvrPkI8Hcf8ANfJVpWvovnCKjD9w3MxpjlBjk5G4kxCyKEAiipQG-2eICjywP0UHxG0DE-PLm70RxSeMb4ICTZHRmo4FMn2BvwUjol9IjggeQqCQ/s200/Soft+Son%252C+66x56+-+Oil+On+Canvas+2009.jpg" /></a><br />Color as an expression, an intimate language, her language, character by character, symbology dripping with life, connotation and immediacy, we are drawn into latent memory through visually stimulated - olfactory cognition. Maggie’s coloring conjures up definitive and familiar scents of our lives and existence; prescribing the hue of the human condition. Glimpses of divine light, lost in revelry, transported to and fro by waves of refraction, inhaled through ocular fragrance, we are immersed into the sensual, even the melancholy.<br /><br />Is that all there is, pigmentation, light’s frequency and wavelength? Color, the “to<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsMmq6q4B30tdR09XOKWxu9LlZnJAzM8852ys4QeYyHqsC-EVsb61Pb23AboubBU_XpFrL3GYRW7fkGztxF_fp4oNuJRYt8oeinTKIuR7EOlPLMSDtp3WcEOStDDJJAJcx1_2kIaTm_Jbh/s1600/Victorious+Lemons%252C+52x64+-+Oil+On+Canvas+2010.jpg"><img style="MARGIN: 0px 10px 10px 0px; WIDTH: 200px; FLOAT: left; HEIGHT: 162px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5561864100448583202" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsMmq6q4B30tdR09XOKWxu9LlZnJAzM8852ys4QeYyHqsC-EVsb61Pb23AboubBU_XpFrL3GYRW7fkGztxF_fp4oNuJRYt8oeinTKIuR7EOlPLMSDtp3WcEOStDDJJAJcx1_2kIaTm_Jbh/s200/Victorious+Lemons%252C+52x64+-+Oil+On+Canvas+2010.jpg" /></a>ol” fundamental to her ethic, beyond the mechanics of her craft, transmits resolve or lack thereof seemingly codified into arithmetic expressions, (Freedom = honesty + integrity). Near infinite in their values, albeit with minimal references, Margaret cleverly unfolds space within space; a table’s corner defined by only gesture, a suspended stool, grounded by only minutiae -pads of color. Embedded systemic codes of gradation validate our finiteness, ken and even our limitations. Simultaneously, well defined transcended spectrums affirm the vastness of creation - reigned in only by utilitarian organic line, judicious line use exacting professional restraint; alas reality confirmed.<br /><br />Enough with the safe version.<br /><br />Beyond expected levels of enthusiasm, I'm jazzed and simultaneously taunted by these paintings. So far outside my comfort zone is Margaret's work that I am given pause. Normally drawn to edgier <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTfRWb6q-S7yIR_P52qNAgEYOpPp0PqWIdZYcrE8I8OI4r_cwqWPQ3kRc62guo8aVk0Ziz3iDtQxbl9FVaI1vQVUncp-FA-68KYBpINur3ZVLtzmO789YRaXBT9caI_WrVhfxkWhGV9wvR/s1600/Spooning+Berries%252C+55x68+-+Oil+On+Canvas+2008.jpg"><img style="MARGIN: 0px 0px 10px 10px; WIDTH: 200px; FLOAT: right; HEIGHT: 166px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5561892358868122914" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTfRWb6q-S7yIR_P52qNAgEYOpPp0PqWIdZYcrE8I8OI4r_cwqWPQ3kRc62guo8aVk0Ziz3iDtQxbl9FVaI1vQVUncp-FA-68KYBpINur3ZVLtzmO789YRaXBT9caI_WrVhfxkWhGV9wvR/s200/Spooning+Berries%252C+55x68+-+Oil+On+Canvas+2008.jpg" /></a>work, it became impossible to pass over this superior craftsmanship, to negate their precision; their mastery. Margaret’s ease of hand reconciles elusive nuance of mechanics, meter and ideas of purpose surrounding our craft. I have never known such beauty and struggle to set free a way of being that has governed a lifetime of denial.<br /><br />Gracefully lacking pretension, by a whisper of silence, I am lulled, drawn to her altar of peace; beauty abounds. Oh, that this paradigm might last. Ripped from Dream's revelry, illusions of peace an affront to my frenetic paranoid sensibilities; I am challenged by silence, more so by the appearance of silence cloaked in peace. Notions of calm, well outside my understanding, I am weary of <em>Greeks bearing gifts.</em> My unrest is at issue. I am helpless against such weapons of resolve.<br /><br />MZB’s <em>Paint by Color</em> body of work, beyond piquing my curiosity, mystifies and confuses my want for clos<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjY9qV4mtKqii-_UOVkr_W55UTBHVlI85_89e9DU8ZXnVTKb-DbJWbXUTdPrtTLw7Apdw6IZDg6zXm6pemPOSEKmxi9iQnhhnwdtdUhIzgfFOpYUov81KXHsj5rXHrBsPbL-5NvjaDsSbad/s1600/Work+Boots%252C+65x53+-+Oil+On+Canvas+2008.jpg"><img style="MARGIN: 0px 10px 10px 0px; WIDTH: 164px; FLOAT: left; HEIGHT: 200px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5561892751425198130" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjY9qV4mtKqii-_UOVkr_W55UTBHVlI85_89e9DU8ZXnVTKb-DbJWbXUTdPrtTLw7Apdw6IZDg6zXm6pemPOSEKmxi9iQnhhnwdtdUhIzgfFOpYUov81KXHsj5rXHrBsPbL-5NvjaDsSbad/s200/Work+Boots%252C+65x53+-+Oil+On+Canvas+2008.jpg" /></a>ure, justice and reverse vindication. Devoid of blemish, I seek but find no error, crack or imperfection. I scoff at the brilliance; disdain prevailing. A skeptic by nature, I kick out in disbelief and resist yielding though know it is futile; beauty somehow overtaking my sense of filth and loathing.<br /><br />Unsatisfied is my flesh in its hunger for satisfaction. I thrash about seeking the source of my screams and cries of anxiety. Shrieks for acknowledgement and liberation pierce me through exposing my evil desire to revel in their pain and anguish; <em>from whence cometh this bent on destruction?</em> Appalled, my wretchedness is ever-present; how the darkness blinds me. Elusive is my want for gratification, bi-polarity demanding its tax; Beauty's opposing realities of stench, grime and discontentedness.<br /><br /><em>How dare the light dwell just beyond my grasp?</em> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijBZvxAQoWbsxOj78PyKq51DNOtva7bylbXl0KBt3FnpXLqkMWpkCgkHkzwkUar3QKdRsmb4qqkPz5Iql_0xVKvEsrxE7unBaA11pqLbDiQh3T3R74sPQ26F4Q0HwS59Vb51wfloD7Vx-C/s1600/Kiki%252C+30x24+-+Oil+On+Canvas.jpg"><img style="MARGIN: 0px 0px 10px 10px; WIDTH: 160px; FLOAT: right; HEIGHT: 200px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5561893339463576242" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijBZvxAQoWbsxOj78PyKq51DNOtva7bylbXl0KBt3FnpXLqkMWpkCgkHkzwkUar3QKdRsmb4qqkPz5Iql_0xVKvEsrxE7unBaA11pqLbDiQh3T3R74sPQ26F4Q0HwS59Vb51wfloD7Vx-C/s200/Kiki%252C+30x24+-+Oil+On+Canvas.jpg" /></a><br /><br />Wanting respite from the deafening cacophony, looking to my cache of Brown laden imagery, out from under Calamity's heap, reaching, I grasp for her hand of peace, if only momentarily, knowing full well the imminence and appointed growl of life’s lingering wolves from beyond the door.Karl Slocumhttp://www.blogger.com/profile/13671641427259974902noreply@blogger.comtag:blogger.com,1999:blog-3050648620085776405.post-25570270850669836902010-12-30T12:04:00.000-08:002010-12-30T12:22:25.150-08:00Barnes Foundation Director Shows @ Knapp Gallery<div><div align="left"><strong>For Immediate Release</strong><br />Contact: Karl Slocum<br />267 455 0279<br />karl@knappgallery.com<br /><br />The Knapp Gallery Presents:<br /><span style="font-size:180%;">Nicolas King & Petros Pappalas</span><br /><br /><strong><em><span style="font-size:130%;">In Through the Out Door<br /></span></em></strong><br />Exhibition Dates: January 7th – January 30th, 2011<br />First Friday Opening: January 7th from 6:00 – 9:30 pm<br /><br />Artist Reception: Sunday January 9th, 2011 (1pm – 4pm)<br /><br />Philadelphia) – The Knapp Gallery continues its tradition of First Friday openings and welcomes Nicolas King and Petros Pappalas in their joint exhibition, In through the out Door. A dramatic confrontation between divergent processes, emotions and perspective, King and Pappalas share the ring like mongoose and cobra. Complementary in only their bi-polarity, King’s post-impressionist renderings create a traditional portal through which we can witness the bravado of Pappalas’ expressionism. However divergent, a young Pappalas wrestles with age old questions to which a seasoned King invariably has the answer.<br /><br />Nicolas King enjoyed a unique history with the Barnes Foundation, here in Philadel<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitZEIjBmA4V9bu8-7E3Q40TpgtQFpU9TgimB9QagoYVf0ZJWO-JPkfnnXsPjqrmWzA7Rw2hYIPVnc2oWODRcsHHizhiFWJC6Lhv1g0T4txwESrKyTZolj7siMvB4-qc6AGL00l-VnsMVx4/s1600/nicolas.jpg"><img style="MARGIN: 0px 0px 10px 10px; WIDTH: 200px; FLOAT: right; HEIGHT: 161px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5556572509671540642" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitZEIjBmA4V9bu8-7E3Q40TpgtQFpU9TgimB9QagoYVf0ZJWO-JPkfnnXsPjqrmWzA7Rw2hYIPVnc2oWODRcsHHizhiFWJC6Lhv1g0T4txwESrKyTZolj7siMvB4-qc6AGL00l-VnsMVx4/s200/nicolas.jpg" /></a>phia as Director, Curator and Head of Conservation. With inescapable influence, a mastery of the “softened” patina, King’s brush translates remarkable sense of sensitivity and affinity for Matisse. Emphasizing visibility of the canvas as negative space within a complex composition, offering differential materials and surfaces - paint and tooth – challenge resulting texture and light enhancing color and dimension of imagery. King juxtaposes vivid and muted colors; quantifiers and emotional tethers to his imagery, dramatic interplays stretching both depth of field and focus. With unique vantage, demonstrable perspective, King creates unique interpretive windows through which to view his myriad of garden-based situational vignettes.<br /><br />The brawn of struggle yields honesty in Pappalas’ work. Petros paints in the moment.<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjYTay7ul8Vl8MLDlB5YKXvSfUKNrJFl-lki5BHnQqtX8uUGBJhIya_R5miekSlLC6kEhTyu4WiOaYxgQ6A2px7nJRjcjvZR3034nsNqpr2YkeuFbC6j4KEXJmULVCo2FNQWRnOdaeOflX/s1600/Killing+of+the+Bananas+36x48+-+Oil+on+Canvas%255B1%255D.jpg"><img style="MARGIN: 0px 0px 10px 10px; WIDTH: 149px; FLOAT: right; HEIGHT: 200px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5556572076314219762" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjYTay7ul8Vl8MLDlB5YKXvSfUKNrJFl-lki5BHnQqtX8uUGBJhIya_R5miekSlLC6kEhTyu4WiOaYxgQ6A2px7nJRjcjvZR3034nsNqpr2YkeuFbC6j4KEXJmULVCo2FNQWRnOdaeOflX/s200/Killing+of+the+Bananas+36x48+-+Oil+on+Canvas%255B1%255D.jpg" /></a> “I don’t like retracing my steps, cleaning up if you will. In this, I tend to sterilize the nuance with the most value. I need to get in and get out. Timing is everything. ” Fearlessly and aggressively painting offensively, Pappalas abhors the hindsight of defense. Without yielding to the confines of structure and unknowing, Pappalas creates living work borne out of offense, not defense. “Defensive painting, in its passivity, is about fending off fear and death; producing only static product. In tendering dead work, I abrogate my responsibility to the craft.” Kinetics and momentum excite and define his bent on bold and harsh light. Painting from black to light, Pappalas is a proponent of addition over subtraction. </div></div>Karl Slocumhttp://www.blogger.com/profile/13671641427259974902noreply@blogger.comtag:blogger.com,1999:blog-3050648620085776405.post-2774378356356715062010-12-03T09:41:00.000-08:002010-12-03T09:55:17.600-08:00Hoiliday Troika @ Knapp<div><div><div><div align="left">The Knapp Gallery Presents: <strong><em>Meeting the Diversities<br /><br /></em></strong>First Friday Opening: December 3rd<br />Exhibition: December 3rd – January 2nd 2011<br />Artist Reception: Sun. December 5th (1pm-4pm)<br /><br />(Philadelphia) – The Knapp Gallery continues its tradition of First Friday openings and welcomes local emerging philadelphia artists <strong>Salvador Di Quinzio</strong>, <strong>Kevin Von Holtermann</strong> and <strong>Gail S. Kotel</strong> in our Holiday “Three in One” exhibition <em>Meeting the Diversities</em>. An homage to collectivism, <em>Meeting the Diversity</em> hi-lights the complex melting pot of Philadelphia’s Contemporary Fine Art scene; an artful harnessing of commonality amidst divergent processes, genres and aesthetic. The resulting seamless troika gallery division, normally divisible by two, acknowledges the existing collective thread tethering Philadelphia’s local artists.<br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkd8O_HA0EXv53JEqzF5VNzZ5c_UjwM-rpcrEe-IFDFI89G0r3zUJWV71YT_KfNllSpn7KFAXKBcF25kBTZWtqiyHgShfMxQAhmNuubeNWEtPD9hYUfB_gVRMP5WjAvIpuPvlJitSgVxzi/s1600/salvador1.jpg"><img style="MARGIN: 0px 10px 10px 0px; WIDTH: 139px; FLOAT: left; HEIGHT: 139px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5546514330769445538" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkd8O_HA0EXv53JEqzF5VNzZ5c_UjwM-rpcrEe-IFDFI89G0r3zUJWV71YT_KfNllSpn7KFAXKBcF25kBTZWtqiyHgShfMxQAhmNuubeNWEtPD9hYUfB_gVRMP5WjAvIpuPvlJitSgVxzi/s320/salvador1.jpg" /></a>Di Quinzio’s timeless display of traditionalism, a cornucopia of non-typical imagery, dispels conventional notions of ethnic–based creativity. A story teller of sorts, Di Quinzio tickles our remembrance with fable-esque yet relevant vignettes; surreal by definition, however dominated by German expressionism. Copious depictions of life within life, juxtaposition of orientation, incongruent image sizes and dramatic perspective shift accentuate his veteran ideals of “drawing outside the lines.” More than collectible, an existing familial and heirloom quality is enhanced by a warm “egg tempera-esque” patina.<br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2HHqeHz7PY77y7_milXP6A8Ttmw8K9vdGfmlEsBNV8rPBBsX4h8h0M33w0XbX1oHrL_G7gInbOU53CBB8VwmcEIuCc2i5IGPJBh4HVzd2J1NZ76BYChZnuN5Jlf6ycvhWUwbAsjQBM_tI/s1600/kevin12.jpg"><img style="MARGIN: 0px 0px 10px 10px; WIDTH: 107px; FLOAT: right; HEIGHT: 160px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5546515042900168002" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2HHqeHz7PY77y7_milXP6A8Ttmw8K9vdGfmlEsBNV8rPBBsX4h8h0M33w0XbX1oHrL_G7gInbOU53CBB8VwmcEIuCc2i5IGPJBh4HVzd2J1NZ76BYChZnuN5Jlf6ycvhWUwbAsjQBM_tI/s320/kevin12.jpg" /></a><br />Von Holtermann shoots from the hip with refreshing naiveté, energy and abandon bent on investigation. Like in the James Brown song, “Ain’t no static”, and akin to the “Three faces of Eve,” there is a profound visual schizophrenia, albeit with a free ongoing and eclectic conversation. Von Holtermann creates new language. Much about the paint, Kevin’s varied processes, including unorthodox “resists,” yield unpredictable results birthing dramatic and inventive abstraction.<br /><br />Gail Ko<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqCrISxNwRfJ5zRQSFl74UrZq0K1Z8OC7e7t8cl7JciuyIVdwu9ouNinkBmUpsBTkEsUrStRZRLs1_eAc-GW6068Mrg2_2NbUgcZlowyE6H8fd2AgV8xX0__7329N87XJfDwLCq0GYcOoc/s1600/kotel1.jpg"><img style="MARGIN: 0px 10px 10px 0px; WIDTH: 139px; FLOAT: left; HEIGHT: 139px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5546515613141681330" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqCrISxNwRfJ5zRQSFl74UrZq0K1Z8OC7e7t8cl7JciuyIVdwu9ouNinkBmUpsBTkEsUrStRZRLs1_eAc-GW6068Mrg2_2NbUgcZlowyE6H8fd2AgV8xX0__7329N87XJfDwLCq0GYcOoc/s320/kotel1.jpg" /></a>tel’s reworked 3D sash arrangements, mounted as 2D wall hangings, present viewers a fresh new vista through a remarkably non-traditional window. Tactile and tangibility mark Kotel’s rethinking of a window with a view. Supercharged, fractured, staggered and structurally altered window panes incorporate mechanics with form, figure and color; unique is her “telling” portraiture shown through the looking glass. Voyeuristic in their intimacy, Kotel’s distorted and haunting “reflections” challenge our isolationist sensibilities. Translucence, ambient luminescence and fragmented shadowing dramatize an innate crispness. </div></div></div></div>Karl Slocumhttp://www.blogger.com/profile/13671641427259974902noreply@blogger.comtag:blogger.com,1999:blog-3050648620085776405.post-4466692653220186322010-11-08T05:58:00.000-08:002010-11-08T07:30:24.356-08:00Sending out an S.O.S.Got message in a bottle? Actually, more like message in a box? Time and technology changes all things. However you define it, the mystery and magic of the “found” message in a bottle is something that has captivated me since my youth. Forever young, a romantic by nature, I am awed by the limitlessness of the universe. Nurtured on the milk of mystique, venturing in the realm of chance, I am a proponent of casting aside limiting notions of predictability. My mother, a firm believer in reaching for the stars, would say “nothing ventured, nothing gained.” Always with intent, the dynamics of releasing a bottle are never isolated. The surrounding circumstance under which a bottled or boxed message is released intensifies the need for a receiver/finder. And, in being rescued, there is a profound resulting relationship established between sender and receiver. <br /><br />Traditionally, the message in the bottle was sent out of desperation from an individual stranded amidst some unforeseen circumstantial island experience. A cry for help, as it were, is a vulnerable yet powerful acknowledgement of the human experience. Unfortunately, only the daring, those adventurers caught up in the vicissitudes of living life to the extreme can truly understand the undeniable divine appropriated power of the “rescue.” I have firsthand experience releasing the bottled message.<br /><br />When I was in third grade I released a large helium balloon that I had purchased at the Apple Blossom Festival, back in my home town Bethel, Connecticut. I attached a letter to the string with my return address. Remarkably, a little girl, my same age found the balloon at the edge of a pond near her home in Nova Scotia, Canada! For “Show and Tell”, I was the hit of the school. I went from classroom to classroom sharing the return letter and photo I had received. So, it is no wonder I believe in the unbelievable. Speaking figuratively, I have been releasing balloons ever since. I have developed a way of being and living that challenges life and its possibilities. I make a clear and definitive distinction between my word use of possibility and not potential.<br /><br />Though often confused and misused as similar ideals, contextually, these two divided hemispheres are opposing and governed by divergent values. Specific laws of physics govern the conditional realm of potential, while its faith-based counterpart, possibility, exists apart from and beyond our ken. Ruled by givens, preexisting variables, parameters and/or experiences, potentiality represents limited outcomes. Conversely, free of fences, possibility heralds notions of limitlessness. <br /><br />A Jack of many trades, I know little bits about many things, some things more than others. Experientially, I know a great deal about exercising the power of possibility. There is something profound to say in defense On- the-Job training. I am the last person to talk about the “impossibility” of accomplishing something. This word no longer exists in my vocabulary. The totality of my life evidences the veracity of living outside of status quo; perceived limitations and understanding. Along this circuitous and meandering path we call life, I’ve learned with varying degrees of success an alternative reality that challenges standard notions of predictability. <br /><br />Biblically speaking, the aforesaid circumstantial island experience is akin to the proverbial fighting of David against Goliath. Dogmatically, we are conditioned to accept the linear equation of “what you see is what you get.” Most interestingly, and what is often overlooked in this epic story of “against all odds”, is the overriding circumstance of this confrontation between the giant and youthful contender. Mano a mano, experience against naiveté, everything was on the line; nation against nation - winner take all. We are told that Saul, then King of Israel, had his personal armor put on David. Too cumbersome for Saul’s imminent replacement, David faced Goliath only with what he knew, sling and stone. Living within maelstrom of possibility, facing the Goliaths of the unknown requires an affirmative sense of self. As Director of the Knapp Gallery, amidst a downturned economy, I too am up against my own personal Goliath; the proverbial Philistine army stands off in the distance desiring my demise – winner takes all. With only sling and stone, my confidence in the realm of possibility, I stand virtually naked against the elements. However, this battle is about so much more than the surviving and thriving of an art gallery in a bad economy. <br /><br />Far beyond the visible horizon here in Philadelphia, is the writing of history; our viability as a world class “Fine Art Community” is at issue. Despite a remarkable armature and infrastructure in place, a world class Art Museum, The Barnes Foundation, a significant concentration of the country’s finest Art Schools, we are still without a commensurate reputation as a stalwart exporter of Philadelphia made Fine Art. This existing and disproportionate imbalance hinders requisite collector confidence. A resulting and pervasive chronic anemia saps our “body” of its want for oxygen; doubled over listlessly by the side of the road we wait to regain our composure. Meanwhile, the remedy of our sluggishness exists on hand, literally in our own back yard; no need travelling to OZ. We need only tap into Philadelphia’s MFA contingency, which currently suffers exponentially from post graduation attrition. The Knapp Gallery, in its attempt to highlight and harness the power of this fallow resource has launched a contest. Winner takes all.<br /><br /><br /><strong>2011 City-Wide Graduate Student Juried Exhibition/Contest</strong><br /><br />With quarter final, semi final and final round eliminations, the winning finalist receives:<br /><br />• post graduation solo show at The Knapp Gallery<br />• year supply of art materials <br />• partial living stipend<br /><br />This high profile competition will afford Philadelphia’s graduating MFA students a high visibility opportunity and platform to jumpstart and promote their careers.<br /> <br />The Knapp Gallery acknowledges Philadelphia’s opportunity and potential as a World Class “Fine Arts” Community. Presently, New York City’s Art Community, because of its concentration of artists, career opportunities and unlimited exhibition spaces keeps the lion’s share of the Mid-Atlantic Region’s visibility and notoriety. Conversely, Philadelphia, obscured in New York’s shadow, is known only for its concentration of the country’s finest Art Schools. And like in a small College town, Philadelphia suffers from significant post graduation attrition. Lacking sufficient career and growth opportunities for graduating students to live and nurture their craft, Philadelphia is left remotely barren and devoid of its growth potential. <br /><br />Philadelphia trains artists but lacks a suitable continuing support network to retain its young graduating student artists. At issue here is the notion of sustainability. Sustainability requires sowing seeds of growth and nurturing these seedlings through to harvest. The Knapp Gallery believes a highly visible and publicized MFA graduate student juried exhibition/contest will spotlight and quantify the value of the student artist, while simultaneously calling attention to Philadelphia as a viable resource for quality Contemporary Art. A desired by-product of this promotional event is the nurturing, cultivating and creating of a plausible demand for Philadelphia-created art work. <br /><br />The Knapp Gallery, since its inception 5 years ago, has been a champion for the emerging and student artist. We have sought to edify the Philadelphia Fine-Art Community of its ample student and emerging artist contingency as a significant and pivotal resource. Our efforts are but one cog in the larger gear needed to redirect current post graduation relocation and attrition trends. In providing Grad Students a place to show their art, we hope to entice Philadelphia’s student contingency to remain and develop their careers.<br /><br />Contestant requirements:<br />• Graduating from a Philadelphia based MFA program in Spring 2011<br />• Winning Finalist must remain in Philadelphia to paint their exhibiting body of work. <br /><br />For entry application contact Tereza at 267 455 0279<br /><br />This however is only an initial step towards ameliorating said deficiency. Highlighting the value of one life, one artist helps only to create awareness. Retaining Philadelphia’s graduating MFAs requires a significantly larger effort. Accordingly, I have proposed to Philadelphia the following: <br /><br /><br /><strong>The New Philadelphia Fine-Art Registry</strong>Long Term Proposal: Accommodating MFA post graduation attrition<br /><br />Philadelphia’s significant concentration of Fine-Art Schools lacks sufficient back up in career building opportunities for its MFA graduates. Consequential loss of potential “professional” artists has stymied growth and tainted the reputation of Philadelphia’s “Fine-Art” Community. At street level this translates into limited art buyer/collector confidence.<br /><br /><strong>Remedy:</strong>• Establish and promote the “Philadelphia Fine-Arts Registry.”<br />• Establish and publicize an annual Economic Development Grant funding source-based on a “Training” initiative.<br />• Create 5 municipally owned or business cooperative “Exhibition” spaces for Registry members called registrants.<br />• Create a self-contained registrant managed and marketed City-Wide industry with “Genuine- Philadelphia – Made” branding.<br /><br /><strong>Philadelphia Fine-Art Registry</strong> is an internet searchable repository of MFA graduates and houses the components of a new municipal self-contained and self-sustained industry. Operating funds from exhibition admissions, membership dues, painting sales and printing sales maintain employment generating opportunities for registrants. The registry increases undergraduate and post graduate art school enrollment. <br /><br />As an <strong>Economic Development Tool</strong>, Philadelphia Fine-Art Registry qualifies for federal and or state training funds/grants. Training funds entice relocating firms, offset costs of workforce training, provides registrant employment opportunities and generates municipal publicity. <br /><br /><strong>Registry Galleries </strong>guarantee registrants’ exhibition space, employment opportunities, additional municipal revenue, increased First Friday traffic, a wider commerce perimeter and increased tourism opportunities. Alternative Registry exhibition spaces are developed through participating businesses. <br /><br />Introducing <strong>“Genuine- Philadelphia – Made”</strong> branding /marketing establishes significant registrant employment /revenue generating opportunities, promotes the MFA initiative, increases municipal publicity and promotes tourism. <br /><br />Consensus requires collective buy-in. Buy-in requires high visibility. High visibility fundamentally is found at the core of a noteworthy Cause. An altruistic and substantive promotion of a cause requires having a personal stake in that Cause. Nearly thirty years ago, my mother died from complications associated with Lupus. To date, no cure has been found for Lupus, an immune deficiency connective tissue disorder. Like finding the cure for our present Philadelphia Art Community’s anemic condition, I am also an ardent supporter of finding a cure for Lupus, a disease that historically slays women of African American and Hispanic decent. To raise funds for Lupus research and fund our City-Wide Art Contest, The Knapp Gallery is hosting a Black Tie event, a Lupus /Art Philadelphia Fundraising Gala, to be held at the Hyatt Regency Philadelphia – At Penn’s Landing, May 21, 2011; Lupus Awareness Month. <br /><br /><strong>Lupus / Art Philadelphia Gala Fundraiser </strong><br /><br />The Knapp Gallery is partnering with the Lupus Foundation of America in a fundraising Gala to help celebrate Lupus Awareness Month. This $500 per plate “Black Tie” awareness event will be the culmination and Award Presentation Ceremony of our City-Wide MFA Juried Art Contest. With four guest speakers representing the Medical, Business, Political and Art communities, a significant goal of this is to create an inclusive dialogue that promotes within Philadelphia a renewed sense of collective responsibility. Proceeds from this fundraising event, split with the Lupus Foundation of America, will fund the Knapp Gallery’s 2011 City-Wide MFA Contest awards.<br /><br />Historically, the arts have been solicited to support non-profit fundraising. Ever accustomed to the donated art “for auction” scenario, there exists an inherent and profound acknowledgement of Art’s value. And while we need the help of our non-profit partner to bolster confidence of investors, our larger intent at the Knapp Gallery in partnering with the Lupus Foundation of America is not an attempt to piggyback this sentiment, rather to raise awareness of what we perceive as a life threatening issue to The Philadelphia Fine-Art Community. Like the life threatening affects of systemic Lupus, similar anemic symptoms plague the welfare and growth of Philadelphia’s Fine-Art Community infrastructure. <br /><br />The Knapp Gallery is currently soliciting Philadelphia based businesses, firms and medical facilities as first and 2nd tier partners. For Gala tickets and/or additional information contact Tereza at 267 455 0279.<br /><br />Like John the Baptist, preaching the imminent coming of the Kingdom of God, I too have met significant resistance. Two weeks ago, realizing I was going about this in my own strength, living within the realm of potential, it became clear that it was time to release another balloon into the stratosphere. And just that I’ve done. And like sharing in “Show and Tell”, back in third grade, I am letting all who are willing to listen and read that I have sent up another balloon. In this particular instance, however a box, to the White House! Why the White House? In my mind, fundamentally, it represents the infinite and limitlessness of possibility. The larger reason is that First Lady Michelle Obama, as a figure head, represents the idyllic importance of women of African American decent. Never before has such an important woman of color been attached to the need to find a cure for the disease.<br /><br />I am not the best businessman. Running an art Gallery is not what I do. I am a furniture maker by profession. The Knapp’s knew this when they installed me as Director. They did know that I possess a tremendous capacity and desire to win. And while winning is not everything, a significant portion of my character MAKE-UP is driven by a desire to win. I have not done a lot of winning yet. Fortunately, I am still above ground and while breath remains, I will press towards the mark. Winning in this instance would be to have Michelle Obama as my Keynote speaker at our LUPUS / Art Philadelphia May 2011. So, I sent a letter to the White House attached to a painting donated by Philadelphia artist Alfred Ortega in a custom built crate; the aforementioned message in a box. This is how much I believe in Philadelphia and its Fine Art Community. Despite significant reticence, I have been able to get others on board with my vision like Jane Golden of Philadelphia’s Mural Arts Program. My hope is that an involvement by the First Lady will cause a rallying around an event/cause I believe to be of historic proportions.<br /><br /><br /><em><strong>First Lady Michelle Obama<br />The White House<br />1600 Pennsylvania Avenue, NW<br />Washington, DC 20500<br /><br />October 26, 2011<br /><br />Dear First Lady,<br /><br />My hope and prayer is that this letter finds its way safely to you. Like a message in a bottle, albeit with an address, I release this correspondence out into the ocean of hope. Anointed with love and faith, this letter represents a life lived with a fundamental belief in miracles.<br /><br />I need your help. Philadelphia needs your help also. <br /><br />Nearly thirty years ago, my mother, Marie C. Slocum, died from complications associated with Lupus. An African American woman, a pioneer in Head Start and Special Education in Fairfield County Connecticut through the late 60s and 70s, she blazed a heroic trail laden with travail and resistance. Like you she epitomized integrity. Despite her personal health struggles, she fought for the lives of her special needs children. She will always be my first lady, my example of courage, selflessness, fortitude and life’s limitless possibilities. <br /><br />In my attempt to raise awareness and funds for Lupus research and a special arts-based need here in Philadelphia, I, too, have met significant resistance. A voice crying out in the wilderness, few ears are open to my call to arms. The economy has preoccupied us with needs closer to home.<br /><br />Lupus, an immune deficiency tissue disorder, slays predominantly female victims of African American and Hispanic decent. To date, there is no cure. Despite recent Public Broadcasting Announcements, there has been limited high visibility of an African American or Hispanic Woman associated in promoting research towards finding a cure. Now, you are the most prominent black woman in the world. My mother would be so proud of you and your work.<br /><br />Tangentially, the Philadelphia Fine-Art Community, weakened in its trend of post graduation MFA attrition, suffers dramatically in part to its close proximity to New York City. Promoting a City-Wide MFA art contest, I am attempting to raise funds to for the contest winner (a living stipend and year’s art supplies) and also raise awareness of the substantive art community that Philadelphia itself has offer. The contest winner will receive their first post- graduation solo art exhibit at Knapp Gallery, in Old City, nearby the Betsy Ross house where you visited last year. I was in the crowd for your arrival. <br /><br />Partnering with LUPUS, the LFA “Philadelphia-Tri-State Chapter” has approved the motion to participate; I hope to align the seriousness of our art community “anemia.” Traditionally, the art world has been solicited to help raise money for non-profit fundraising. Now, with a personal stake also, I solicit the “high visibility” help that a Lupus fundraising event can bring. <br /><br />Your participation as my keynote speaker at a black-tie event planned for May 21, 2011, Lupus Awareness Month, would ensure success and convince prospective patrons “buy-in” to our vision. <br /><br />Please afford me the opportunity to discuss my vision with you and your people in its entirety. I would be honored to travel to DC and meet with you. I am convinced, within a short lunch, you will discern my sincerity and commitment to both of my causes. Of course, if your lunch schedule is impenetrable, the telephone could work, too.<br /><br />Please accept this painting as a token of our thanks for your consideration of our invitation. This is the quality of art and life of an artist that we are attempting to promote and preserve. Born in Philadelphia in 1956, Alfred Ortega studied painting and sculpture at the Pennsylvania Academy of the Fine Arts. Ortega’s work is currently represented by the Atlantic Gallery in Nantucket and the Knapp Gallery here in Philadelphia. Ortega has exhibited at the Woodmere Museum and Twenty-two Gallery in Philadelphia. The artist’s work is represented in the permanent collection of the Pennsylvania State Museum and in private collections.<br /><br />Thank you for your kind attention to this matter.<br /><br />With my fondest regards, <br /><br />Karl Slocum, Director</strong></em>Karl Slocumhttp://www.blogger.com/profile/13671641427259974902noreply@blogger.comtag:blogger.com,1999:blog-3050648620085776405.post-29544222493006827672010-10-23T11:33:00.000-07:002010-10-26T06:25:17.603-07:00Center City Opera Theater - Danse Russe<div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXV7-UhLHkL3hG_8Jo1ex16GUXtTc4BdKfmuhPzE8O3_IWg3CokuUAvc0US23Pfw4EAwJsS4lR_sUXU8tcESbxFBWAgD1Dv5sRYRSDi4Qzbkne-P35VitArj3jY-DJR2Gn7fV8MGdsbt6F/s1600/pifa.jpg"><img style="TEXT-ALIGN: center; MARGIN: 0px auto 10px; WIDTH: 171px; DISPLAY: block; HEIGHT: 200px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5531312833536642242" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXV7-UhLHkL3hG_8Jo1ex16GUXtTc4BdKfmuhPzE8O3_IWg3CokuUAvc0US23Pfw4EAwJsS4lR_sUXU8tcESbxFBWAgD1Dv5sRYRSDi4Qzbkne-P35VitArj3jY-DJR2Gn7fV8MGdsbt6F/s200/pifa.jpg" /></a><br /><div align="center"><strong></strong></div><div align="center"><strong></strong></div><div align="center"><strong></strong></div><div align="center"><strong></strong></div><div align="center"><strong></strong></div><div align="center"><strong>Center City Opera Theater invites you to attend</strong></div><br /><div align="center"><strong>“A Collaborative Inspiration”</strong></div><br /><div align="center"><strong><em>The conception, process and reception of Danse Russe</em></strong></div><br /><br /><div align="center"></div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirkxz_s2VGKwisK-2n_zum0doSoImfOfb7VN513Dhqxu-2Zb9KWNxJVBXrqhbkkSRCNwhyphenhyphenyZVTK64v9C6HjgwCW5EQXbYpo1xKIE_T2lnHKki-mNnVjaMXNc_fPDEhabqNQJZtK52eOJ5J/s1600/DanseRusse_Main1.jpg"><img style="TEXT-ALIGN: center; MARGIN: 0px auto 10px; WIDTH: 182px; DISPLAY: block; HEIGHT: 200px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5531313388533581122" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirkxz_s2VGKwisK-2n_zum0doSoImfOfb7VN513Dhqxu-2Zb9KWNxJVBXrqhbkkSRCNwhyphenhyphenyZVTK64v9C6HjgwCW5EQXbYpo1xKIE_T2lnHKki-mNnVjaMXNc_fPDEhabqNQJZtK52eOJ5J/s200/DanseRusse_Main1.jpg" /></a><br /><br /><div align="left"><strong><em>Danse Russe</em></strong> is a new one-act, vaudeville-style opera, with music by Paul Moravec and libretto by Terry Teachout. It tells the story of the creation of Stravinsky’s Rite of Spring through the eyes of its creators: Diaghilev, Nijinsky, Monteux and, of course, Stravinsky. As we prepare for the April 28th premiere of Danse Russe as part of the 2011 Philadelphia International Festival of the Arts, we are eager to invite you to a related fundraising event!<br /><strong></strong></div><br /><div align="left"><strong>WHAT</strong>: Dessert & Dialogue with Paul Moravec and Terry Teachout </div><br /><div align="left"></div><div align="left"><strong>WHEN</strong>: Friday November 5th, 2010 at 8PM - till</div><br /><div align="left"></div><div align="left"><strong>WHERE</strong>: The Knapp Gallery, 162 N. 3rd Street </div><br /><div align="left"></div><div align="left"><strong>TICKETS</strong>: Starting at $59 (General), $99 (VIP), $250 (Partner). Seating is limited! Available on-line at www.operatheater.org<br /><br />On the eve of the premiere Danse Russe workshop, join Pulitzer prize-winning composer Paul Moravec and Wall Street Journal drama critic Terry Teachout as they discuss the “the creative process” –not only its materialization as the subject of their new opera, Danse Russe, but its relevance to the opera’s current status as a work in progress. The discussion will be moderated by PIFA Artistic Producer, Barbara Silverstein. </div><br /><div align="left"></div><div align="left">* The event will feature delectable desserts and beverages provided by LeBus Bakery, The Arbol Café, and Franklin Fountain. </div></div><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimHtQvtyTm0FqY-zenmhJ16BQMzMKy-RghD3IjIkeTforsVxqP9MMopK7XKNGw0zPGIziZitXiP2yfXMMSg0-MKhcpOoTi0UBQrda2GVoBalmeJnq5lT5K5RZ0k36Lu7doFaYc3pdQZTcu/s1600/Moravec+2.jpg"><img style="MARGIN: 0px 10px 10px 0px; WIDTH: 151px; FLOAT: left; HEIGHT: 200px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5531314009524604898" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimHtQvtyTm0FqY-zenmhJ16BQMzMKy-RghD3IjIkeTforsVxqP9MMopK7XKNGw0zPGIziZitXiP2yfXMMSg0-MKhcpOoTi0UBQrda2GVoBalmeJnq5lT5K5RZ0k36Lu7doFaYc3pdQZTcu/s200/Moravec+2.jpg" /></a><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSxjVsHe1mwHFjuwTJpzyirEmeeiMfKMonMTaYIiDD9j1B70jcsR-3KzUyMl0CiAr2Pgu6dIGG8eiSMyBobkcNjQhyphenhyphenhgB7BfNq9RqF1Ns-A4wn3Wlks3nmWWSNQHkVaUmhAFHmjmCKMq6c/s1600/teachout-240x300.jpg"><img style="MARGIN: 0px 0px 10px 10px; WIDTH: 160px; FLOAT: right; HEIGHT: 200px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5531314342782918066" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSxjVsHe1mwHFjuwTJpzyirEmeeiMfKMonMTaYIiDD9j1B70jcsR-3KzUyMl0CiAr2Pgu6dIGG8eiSMyBobkcNjQhyphenhyphenhgB7BfNq9RqF1Ns-A4wn3Wlks3nmWWSNQHkVaUmhAFHmjmCKMq6c/s200/teachout-240x300.jpg" /></a>Karl Slocumhttp://www.blogger.com/profile/13671641427259974902noreply@blogger.comtag:blogger.com,1999:blog-3050648620085776405.post-58461026353357592492010-10-23T09:31:00.000-07:002010-10-23T10:42:18.475-07:00Grigonis & Kurtz: Found But No Less Valued<div><div>Dualism, the state of being two parts in one, often describes our dichoto<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAsF0CXsUs_ZT8QeNXXSgj2b7VAfsjqpgKc_iV8VlNrObFVEOmg6IQUMRYAbbftSDLzKc9GFiDsbB5C3LV3lj6HcdEi9EUfgetx2PFqRtDPftRHDaPMrMm46UUfjmuNMr4Ti8eDEgIMA1l/s1600/Thirst,+Collage,+Oil+Stick,+colored+Pencil+on+Mylar,+35x46.jpg"></a>mous human nature. Some call it Yin and yang; others deem it a war between our coexisting egos and w<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwGJiDTvR4KrYAh3hknlDz0ZhBxAZhVyUB6R9Dmoz4hzYLN0DBtsHdDiTuMYXsd6oK1hR7hFJsGw1iSZjaZeS4yHuCte5VMuBlowY9dplw2zo5SL_NJ4uG3XbE7l0_Dw9IzUG6Yvxn11pF/s1600/Thirst,+Collage,+Oil+Stick,+colored+Pencil+on+Mylar,+35x46.jpg"></a>ill. However you define it, looking down through the corridor of time, man has struggled within himself coming to terms with his two divergent natures; bipolarity to a degree. T<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQvSp7CIpOZM09iM5Zap5evwAHoz7FEc5tsKYWCP6UxviN4cpdwz_3rg3l5Jgj9RwCTtwZKLRgtkrU623eVFSHT_O48KLaHKFnV1p3QUo2tyKqQjm3a-Y2QRd_rz6bjF-KBTSKaRm66p0Q/s1600/Thirst,+Collage,+Oil+Stick,+colored+Pencil+on+Mylar,+35x46.jpg"><img style="MARGIN: 0px 0px 10px 10px; WIDTH: 320px; FLOAT: right; HEIGHT: 250px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5531297763565910258" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQvSp7CIpOZM09iM5Zap5evwAHoz7FEc5tsKYWCP6UxviN4cpdwz_3rg3l5Jgj9RwCTtwZKLRgtkrU623eVFSHT_O48KLaHKFnV1p3QUo2tyKqQjm3a-Y2QRd_rz6bjF-KBTSKaRm66p0Q/s320/Thirst,+Collage,+Oil+Stick,+colored+Pencil+on+Mylar,+35x46.jpg" /></a>his innate duality, a built-in safety- mechanism keeps man in check with himself. Good art is about duality also. Maybe it is personal choice, likes and dislikes, but my synapses fire when I find strong tension in artwork; the balancing factor. An artist’s keen ability to apply bi-polar weight, creating a conversation through extremes, maybe even answers to questions, is a skill reserved for talented artists. This evident sophistication is the great divide between “fine art” and “art”. In the spirit of this lifelong conversation, the two man art show has always offered a challenge but also significant reward to art directors, artists and patrons; finding divergent but complementary themes and processes.<br /><br />Katherine Kurtz and Marjorie Grigonis, in Found But No Less Valued, have created a grouping of paintings that begs investigation. At interest are their approaches, philosophies, mediums –the paths taken to achieve desired end results; minimalism countered by liberalism. The resulting visual aesthetic of the two extremes hanging together, in one space, is in itself an art form. Consequently, the painted works by Kurtz and Grigonis exist under the larger umbrella labeled Dualism; paintings within paintings.<br /><br />Grigonis responded to pre-existing stimuli, while Kurtz, from her passion for the organics of fresh gesso began with the “fertile void”. Grigonis’ foundation material is a man-made semi-translucent film; Kurtz cotton duck. It became impossible not to consider the remarkable balance and possibilities. <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAdnyegGBB_8QnlqxF-lV1YeM0Q9AVVwFkEFi7-thK2Xu7QO88EGv9SdUYECvHtcknfhInmFVVOGbCLGBbhIs8wu7Xt9-K6UjYYOEUw7T53c-GyNSGRjSj-V_Yz81MerUB87mNBDUSC-q0/s1600/Island,+Collage,+tape,+acrylic+colored+pencil+on+Mylar,+36x36.jpg"><img style="MARGIN: 0px 10px 10px 0px; WIDTH: 320px; FLOAT: left; HEIGHT: 313px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5531286223292907218" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAdnyegGBB_8QnlqxF-lV1YeM0Q9AVVwFkEFi7-thK2Xu7QO88EGv9SdUYECvHtcknfhInmFVVOGbCLGBbhIs8wu7Xt9-K6UjYYOEUw7T53c-GyNSGRjSj-V_Yz81MerUB87mNBDUSC-q0/s320/Island,+Collage,+tape,+acrylic+colored+pencil+on+Mylar,+36x36.jpg" /></a>To the point of seduction, I have romanced notions and memories of infamous duets. Most artists want to fly solo. Change of faire also assures a healthy diet. Beyond the allure, in all fairness to Marjorie’s contribution, half of the paintings to be shown are also oil on canvas. By choice, not to diminish her complementary canvas work, I am only sharing about the work created on found material.<br /><br />Beyond the mystery of two opposing worlds in one creating tension, I like it that the artwork stands on its own, pure cut – straight up major league hacks at the ball. I’m excited at what Marjorie and Katherine have done. Far beyond the simple notion of putting two artists together in the ring and for them to slug it out, we enjoy the choreography as a viable genre. Our two- man show, presented with intent is about so much more. I can’t sing a note, even if it were to save my life. I can however look at two artists and their work and weave a tale of connectedness. I am drawn to parings. Back in Aug ’09, I hung an awesome show with R Michael Walsh and Brian Smith. My group- show hanging presently, with the exception of two paintings, is a premier of my 2011 calendar. While there is a harmony throughout the work, demonstrative of our sound vision, tension remains the preferred faire.<br /><br />Interestingly, Marjorie is a deconstructionist. She likes to put material on and take it off. These new paintings called her out of her comfort zone, even to the point of paralysis. Painting on unfamiliar material, semi-translucent vellum, an evident tension shows up in<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEif1Gtru_j0n_udiQkz9AV41-27HgtsiLSY-g0eURZf7dAY7Pun4xpZyuSL64mLOU-CVDR6KpJB_JEQB4yTvVlM7SycfYqLN9p6bZyqpMDppdhhKhOsXCZoz4MtQ_ctf7emg-44qQUi3Ljq/s1600/Special+Delivery,+Collage,+acrylic,+colored+pencil+on+Mylar,+35x46.jpg"><img style="MARGIN: 0px 0px 10px 10px; WIDTH: 320px; FLOAT: right; HEIGHT: 241px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5531286551846321634" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEif1Gtru_j0n_udiQkz9AV41-27HgtsiLSY-g0eURZf7dAY7Pun4xpZyuSL64mLOU-CVDR6KpJB_JEQB4yTvVlM7SycfYqLN9p6bZyqpMDppdhhKhOsXCZoz4MtQ_ctf7emg-44qQUi3Ljq/s320/Special+Delivery,+Collage,+acrylic,+colored+pencil+on+Mylar,+35x46.jpg" /></a> visual operatic balance – a melancholic yet<br />gay waltz between the painted and the unpainted. We, Marjorie and I, both capitalized on a God-sent opportunity to share some new material for her to paint on. I am the foremost blessed recipient of this miracle. I’ll stop with the mystery, I feel like telling a story anyway.<br /><br />One late evening, walking to the corner market, I found a roll of vellum /Mylar with printed architectural / topographical elevations on them; nearly 20 twenty 36” by 48“sheets. There were some larger sheets also. Clearly, for an artist, this was a veritable gold mine. The wanna-be part time painter that I was at the time saw this as a gift from heaven; a new intriguing material to paint on. I imagined the blending of the organics of paint with this semi transparent rigid and rendered material. There was something slick about it. Outside of normal conclusions, I carried my new found quarry home and dreamed of the possibilities. .<br /><br />Excited, I called Marjorie to come see the “find.” She was equally stoked. She blessed me for the find however m<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipmQREIUY6CaZ9L4lR94tH9XHh2CXtf2wEOvgJPT2iZaSFI8DAE7PEmtHw8mvPqXn0ro-m4Cz6v0fQ6DWim4FnCGG_SHXLkUSicHM_nsWZ_R_ctE77jgj53Vg6D0TCoTsZtVkxu5wXvS9a/s1600/Urban+Connections,+charcoal,+colored+pencil,+ink,+pastel+on+mylar,+36x23.jpg"><img style="MARGIN: 0px 10px 10px 0px; WIDTH: 213px; FLOAT: left; HEIGHT: 320px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5531287450634713074" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipmQREIUY6CaZ9L4lR94tH9XHh2CXtf2wEOvgJPT2iZaSFI8DAE7PEmtHw8mvPqXn0ro-m4Cz6v0fQ6DWim4FnCGG_SHXLkUSicHM_nsWZ_R_ctE77jgj53Vg6D0TCoTsZtVkxu5wXvS9a/s320/Urban+Connections,+charcoal,+colored+pencil,+ink,+pastel+on+mylar,+36x23.jpg" /></a>aking we swear with reverential deference that I would set the Mylars off to the side. Readiness would require a significant dose of<br />patience. I agreed, it was best to let things lay for a bit. At the right time, a positive direction would reveal itself. They, the Mylars stayed rolled up under my bed until about 8 months ago. Wanting for a greater appreciation of Life’s simple things, I was cleaning out the extra, the stuff, the dross in my life. There is always a physical act in exercising our internal slag. I was downsizing, simplifying, living with less. I called Marjorie to come get the Mylar.<br /><br />Marjorie was already slated for the November slot with Katherine. We had already discussed the plan to act aggressively. I had already given Marjorie the “I want you used up when we get to show-time” speech and saw this as an opportunity to get Marjorie to shift gears and give me a body of work on the mystery vellum material. She was quick to jump in. She bought her Husband Jim over to the gallery pick up the stuff. We were all excited at the possibilities.<br /><br />Consequently, this is an extra special exhibition. We are generating new energy in our troika of giving –a three-in-one-collaboration. “Gifted material – gifted material gifted to artist – gifted artist gifting transformed material into gifts for viewers”. Witnessing this dramatic <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh858jGgqCE6wOGfZFPdVW7v28OPotzPcznV_B4AvKhjQy_O8-voZgFf2Cg0H3II8OhmIA8g-Ah_acE75WDWpg79NwuuBiBo1dFyoHTw4bGUbExgomPSSditEkK10gnvmlvMeNshgrxH89L/s1600/Strings+Hiding+Music,+Acrylic,+colored+pencil,+pastel,+24x17.jpg"><img style="MARGIN: 0px 0px 10px 10px; WIDTH: 227px; FLOAT: right; HEIGHT: 320px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5531287897577404450" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh858jGgqCE6wOGfZFPdVW7v28OPotzPcznV_B4AvKhjQy_O8-voZgFf2Cg0H3II8OhmIA8g-Ah_acE75WDWpg79NwuuBiBo1dFyoHTw4bGUbExgomPSSditEkK10gnvmlvMeNshgrxH89L/s320/Strings+Hiding+Music,+Acrylic,+colored+pencil,+pastel,+24x17.jpg" /></a>progress and giving the first “amens” has truly been a remarkable and special gift. Like witnessing the birth of a child, this is one of the many blessings we get in life when we trust enough to treasure relationships. I treasure my relationship with Marjorie and now also her husband Jim.<br /><br />On many occasions, Marjorie I have gone to see performances of the Dumpsta Players http://www.dumpstaplayers.org/show.html , at Bob and Barbara’s, a unique gathering of souls at 1509 South St. This sharing has brought us close together. We had met nearly a year ago through the gallery and developed a wonderful liking of the other. Calls from Marjorie are uplifting, her impromptu gallery visits, the same. So, from time to time, I had fielded questions about the vellum/Mylar. From questions to a visible answer; here we are. Beyond my hallelujahs, without blasphemy, I want to call this experience magical; I do believe in miracles. My sister says I have a unique gift - I think about things and they happen. They manifest the<br />mselves in many forms, a fore-thought scenario, a want or need materializing at the right time; even mystery vellum material as the foundation of a cooperative exercise. I am not surprised by what has occurred. A die-hard romantic, I love the drama of this story<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaFU7irQzCyVw1E0J2d6NbJc83qtWHmNNmyh-uk1mC619SFB18wwq9XgVkJc27yxBk-znNR8q8R3VLcAMPb35RvD72Zi4OA7PmKtGrSb5CItEeQXQmLFDK7gBBCsP6G-2dlDZna9BkTGzF/s1600/kurtz1.jpg"><img style="MARGIN: 0px 10px 10px 0px; WIDTH: 320px; FLOAT: left; HEIGHT: 294px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5531288607932662434" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaFU7irQzCyVw1E0J2d6NbJc83qtWHmNNmyh-uk1mC619SFB18wwq9XgVkJc27yxBk-znNR8q8R3VLcAMPb35RvD72Zi4OA7PmKtGrSb5CItEeQXQmLFDK7gBBCsP6G-2dlDZna9BkTGzF/s320/kurtz1.jpg" /></a>; “Abandoned material is born again”. I believe in “one horse –one rider”.<br />That’s Karl’s way of saying things work out if destined; a divine tethering. There is a lot of faith behind that.<br /><br />Now, looking at Marjorie paintings, I am appreciative of her precise yet free dissections of the printed components of the Mylar’s into definable and substantiated elements. She has gracefully even instinctually created a system of valuation for the elements. In her simplicity, yet with an accompanying maturity, she affords us clarity into the gross value of these renderings, despite their devaluation from the abasement of their abandonment. The act of salvaging and restoring the Mylars adds dimension to the work. Our human want and need for salvation and redemption is manifested the- the proverbial second chance, is at issue here. The Mylar’s have been redeemed. The reborn and redefined net value is edified in the rescue.<br /><br />Assimilation may best describe Marjorie’s unique skill of spooning alongside the parameters and constructs set by the architectural and topographical renderings; far afield from her accustomed way of being. Beyond a Tour de Force, Marjorie redefines her ability to assess the value of external stimuli while countering with a complementary contribution. Stepping lightly,<br />she has co-created with a sense of invisibility. I hate words that sound fancy. Synergy, however, is a word that comes to mind, but describes well the evident symbiosis between material and artist. Marjorie excels at being open in her search for growth. We are far away from where I met and developed my initial relationship with Marjorie – man it doesn’t get any better than this. This is what I seek in my selection of art, a nurtured intimacy through relationship.<br /><br />As Head Chef, here at Chez Knapp, a select cut of intimacy spiced strongly with tension and a side of “edgy” is my house special. See, this is getting down to it. My job is to set the banquet table from which my owners and patrons will feast. Nuisance, purpose and presentation must all work together. I am very specific in my decision making. Any artist that I hang, even those that don’t, will tell you I’m not always the easiest to get along with. As much as the process will allow, however daunting, I am about knowing my artists and my art. Artist - Art Director relationships can get tough. I have turned away good art lacking for opportunity to develop relationship. This is the art that I am h<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyVnmPqvv-wBBqvGMTuU620qrAiBk_Su90kS_PBP78TkJkxmrON8_T-UlyuWsK9qfQDrh_0h0-Z5voW6NLArkyjzQDSGy46hpEgeHqk_n6wFc2zCwTEFWUEYrCJUn0bNfh85ISwuLewlgI/s1600/kurtz2.jpg"><img style="MARGIN: 0px 0px 10px 10px; WIDTH: 320px; FLOAT: right; HEIGHT: 264px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5531289363749837586" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyVnmPqvv-wBBqvGMTuU620qrAiBk_Su90kS_PBP78TkJkxmrON8_T-UlyuWsK9qfQDrh_0h0-Z5voW6NLArkyjzQDSGy46hpEgeHqk_n6wFc2zCwTEFWUEYrCJUn0bNfh85ISwuLewlgI/s320/kurtz2.jpg" /></a>anging. This is art that I know. In defense of this need to know and experience my art, I’ve even made a studio visit to Brasil, on my dollar.<br /><br />It is beyond explanation. Great art does that to you. Here is a test, “How far are you willing to go to get a good body of work?” Considering budgetary constraints … the whole nine, great art will take you out of your comfort zone. Since my installment in the Director’s Chair back in April-March ’09, everything has changed. The wicked learning curve has chipped away at the rough edges of my preconceptions. Including perspective and even my temperament, I am a different cat. I’m not saying I have the answers, I don’t. I’ll tell you what I have. I have art that talks; art that tells story. At one level, under scrutiny from both intimate encounters and also a bird’s eye view, I know the story of art being produced in a few small but significant pockets of Philadelphia’s “fine art” community.<br /><br />My relationship with Katherine is remarkably different, not as intimate, and infinitely more intellectual, opposite of the spirituality shared with Marjorie. Just the other day, I heard the expression opposites attract. Eu concordo (I agree). Somehow, the balance shows up in the middle.<br /><br />Katherine and I bot<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxndEbNZkl0O5aMWA-Rya2d5no7b7xs-qQv7BmMJiaBdyt3rdvfMXbWfwKNzxnrn7G_rII9at_2U41ljhKokDyiN_x4eek2mVOrDVdEh1MIb3acXygyaSGHE2lF8g56thQ79tY11671XBD/s1600/kurtz3.jpg"><img style="MARGIN: 0px 10px 10px 0px; WIDTH: 320px; FLOAT: left; HEIGHT: 240px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5531290481952616690" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxndEbNZkl0O5aMWA-Rya2d5no7b7xs-qQv7BmMJiaBdyt3rdvfMXbWfwKNzxnrn7G_rII9at_2U41ljhKokDyiN_x4eek2mVOrDVdEh1MIb3acXygyaSGHE2lF8g56thQ79tY11671XBD/s320/kurtz3.jpg" /></a>h enjoy the “studio visit”. Beyond sharing great art, the quality discourse is a remarkable attractant. Katherine, a practicing Gestalt Therapist, liking the clinical participation of painting as a tool, enjoys feedback. She doesn’t talk much about her art, desiring a work-based and demonstrably driven definitive efficacy. In the end, therapy is about results, specific results; increased quality of life. Art as a tool<br />to effectuate change through the clinical process is a conversation worth having. “…we let go of our own proscriptive thinking and then make possible the exploration and creation of new ways of being or dealing in the world… we access extra-cognitive information, melding feeling, sensory data, and imagination with thought into new ways of being. Gestalt therapy’s respect for images, dreams, nightmares, and humor is legendary, so it is no surprise to me that in my work as a clinician and in my life as a painter, I find much that overlaps.”<br /><br />In an article I read, Katherine refers to the “fertile void” which is the repository of creativity and its possibilities that dwell deep within us. Including our problem solving potential, she applies gestalt therapy to the hurdles and obstacles that prevent us from accessing this place of plenty. Direction is a commodity, albeit intangible. The likes of Katherine will say that “direction” dwells in the fertile void. Getting to it is key and fundamental to our discussion. Finding direction in one’s creativity bank through clinical applications, like finding a pile of Mylar in the trash is beyond valuation. Found But No Less Valued is really about redefining our prescribed nomenclature in applying and affixing value to those things beyond our understanding. Art is beyond our understanding.<br /><br />The “gestalt” for Katherine, beginning with elements of preparation through to completion of a painting is about problem solving; isolating truths form lies – the interference and even the demons that sap us of our productivity and sense of self. Overcoming creative paralysis, through learned behavior, is an acquired skill. All artists encounter paralysis at some point in their career. Overcoming the paralysis separates the successful from the rest. In this pairing between Katherine and Marjorie, if there is a point of commonality, a shared experience of the human condition, is our collective propensity to hit the proverbial “wall”. Marjorie too was paralyzed by the dictates of the Mylar. Katherine’s cognitive gestalt response to paralysis is very much a part of her creative process. Process oriented, seemingly religious in its rece<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMN4Shyphenhyphenml6-W8WGf1d_sEZ2_p5nTtECx87CjbZxZ1qtZXPSgBMA7ACAM33G3y6SDbRFU9cEOE0Kqv3slRPNW_2IY_rc8NgGC7QQC-Nb6_xCAVNrJ3J33WsvJujFaGJIkgMjs8BHkuAw61H/s1600/kurtz4.jpg"><img style="MARGIN: 0px 0px 10px 10px; WIDTH: 320px; FLOAT: right; HEIGHT: 230px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5531291189452135154" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMN4Shyphenhyphenml6-W8WGf1d_sEZ2_p5nTtECx87CjbZxZ1qtZXPSgBMA7ACAM33G3y6SDbRFU9cEOE0Kqv3slRPNW_2IY_rc8NgGC7QQC-Nb6_xCAVNrJ3J33WsvJujFaGJIkgMjs8BHkuAw61H/s320/kurtz4.jpg" /></a>ptiveness, Katherine’s clinical approach to life, her practice and painting is evident in the final product.<br /><br />Katherine is liberal with her paint, building layer to layer – always layering with remarkable foundation and under-painting. Katherine’s overlay of the strong under-painting leaves a most desirable interfacing at the negative space line; nothing short of luscious. Early Diebenkorn –esque in the outcome, Katherine is not shy about saying she is a fan. I like that. There is no fear in influence. Strong lines move you around the canvas, strong in shapes of color- her pure abstract works hold a firm declarative territorial line, however sometimes softened with a blending of color and light.<br /><br />Visiting Katherine, she showed three strong yet divergent paths of work. Traditionally, I would have chosen a definitive path, set and selected a number of paintings and went about my business. I liked the relationship between the works and opted to serve limited tastes of her three faces of painting.<br />Oddly, it is clear that with all my painters, I don’t subscribe fully over to their complete visual landscapes. However, with some painters I can go across the board with their work. This is a big point. Full disclosure requires I divulge my bent towards the controlling; at least in my want for certain selection autonomy, both with my owners and painters. Being able to serve up faire pleasing to the bosses has its rewards. Being able to discern taste is not a simple task. The Knapp’s give me a long leash. Sometimes I think I’m pulling hard by the tension I feel on my neck. That maybe my orientation only, nose to the ground, hot on the scent of growth.<br /><br />Recently, with a small part played as MC in the Murals Arts Month - 4th Wall Arts Salon “Boutique” Salon, held on Saturday, October 9th, I said openly,”we may not make the most amount of money at this most difficult time in our economy, but we will not compromise. We will legitimize the Philadelphia artist and afford them increased opportunities to hang their work”. Barclay and Rebecca’s commitment to Philadelphia art is unrivalled in my first hand opinion. With historic proportions, the Knapp’s commitment to Philadelphia art, while serving in a different capacity, is equaled only by the City’s Mural Arts Program; Philadelphia’s most significant source of employment for Philadelphia artists. Jane Golden, m<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiO5q8YT680CDKrcA4dp84U1cDZTS4hyphenhyphenyQDQhEcpDTvMMupfpRaH5worHpk_KtMEOQvpE_aZw_mpxdk4Y01h2HA1dTgmsVUVYkoVtxobCCoA8j1nI5X2F5ZTT3WrnCOJC4ZiP1AYR8tKcY0/s1600/kurtz5.jpg"><img style="MARGIN: 0px 10px 10px 0px; WIDTH: 320px; FLOAT: left; HEIGHT: 242px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5531291772888027234" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiO5q8YT680CDKrcA4dp84U1cDZTS4hyphenhyphenyQDQhEcpDTvMMupfpRaH5worHpk_KtMEOQvpE_aZw_mpxdk4Y01h2HA1dTgmsVUVYkoVtxobCCoA8j1nI5X2F5ZTT3WrnCOJC4ZiP1AYR8tKcY0/s320/kurtz5.jpg" /></a>atriarch and guardian of the world renowned Philadelphia Mural Arts Program may know more about Philadelphia artists than most aficionados. There is something more to say for intimacy.<br /><br />This notion of artist-patron intimacy, at a very different level, has more value than all other conversations. 4th Wall Art Salon Co-founders Elijah Dornstreich, Keir Johnson and Alexandria Bradley Visual Art sponsors for the aforementioned Mural Arts “Boutique” Salon, share similar sentiments regarding their artist-patron relationships. It is more than having a finger on the pulse. Trying to get talent to the right places is not always an easy task, especially in Philadelphia. Our attention is divided. As Art Gallery Directors, Visual Art Sponsors and Art Program Directors, our collective responsibility and goal in dispelling unsubstantiated foreboding myths of Philadelphia’s artwork being of lesser quality is heralded by Jane’s seemingly single handed efforts to rid the city of graffiti. Naysayers have capitulated to the repu<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgY4JeNr_iLaReMXjaJ9dGxKweZ-vNRIz5KakB7pnFl6jI16BykC_Y8-y2tSRg69gUHf8dxjfaJkNbH2jWR4woSo8kN5nwD7DnrVEmBL1cgltnUxPrGoOQyAVsmhlLsDUDuekyhIl5_Gtx7/s1600/kurtz6.jpg"><img style="MARGIN: 0px 0px 10px 10px; WIDTH: 318px; FLOAT: right; HEIGHT: 320px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5531292491393180402" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgY4JeNr_iLaReMXjaJ9dGxKweZ-vNRIz5KakB7pnFl6jI16BykC_Y8-y2tSRg69gUHf8dxjfaJkNbH2jWR4woSo8kN5nwD7DnrVEmBL1cgltnUxPrGoOQyAVsmhlLsDUDuekyhIl5_Gtx7/s320/kurtz6.jpg" /></a>tation of Philadelphia’s Mural Arts Program. Jane Golden has put Philadelphia on the map in a worldwide way. Her voice, albeit from a small frame, is clear and resolute, commanding respect, admiration and awe.<br /><br />There is momentum mounting. Along with me, there are clearly others also believing in the possibilities of Philadelphia Fine-Art scene. It may be the intimacy that we have with our artists, our relational knittedness here in the city that shapes and substantiates our “wholesale” value as a fine art community; the overriding reason that Philadelphia rightfully owns a place at the table of success.</div></div>Karl Slocumhttp://www.blogger.com/profile/13671641427259974902noreply@blogger.comtag:blogger.com,1999:blog-3050648620085776405.post-70407805245686477532010-09-09T08:16:00.000-07:002010-09-09T08:44:53.592-07:00<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPTjQ0Ezr8hlQ1xdlXVpLBNvuaBeMeHHzctJMPOa60FwhBVTCLgVWJcQuLvJx5cG2h903lE6VQnOKdbbXCpHz_OW9JExra_pzvAnY1M-MS7bkVPCZW5L8lgcZNj3MiO9hHH7TC_zUUQwzd/s1600/Still+Life%231-Skulls,+40x37.25,+oil,+wax+on+canvas.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 182px; height: 200px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPTjQ0Ezr8hlQ1xdlXVpLBNvuaBeMeHHzctJMPOa60FwhBVTCLgVWJcQuLvJx5cG2h903lE6VQnOKdbbXCpHz_OW9JExra_pzvAnY1M-MS7bkVPCZW5L8lgcZNj3MiO9hHH7TC_zUUQwzd/s200/Still+Life%231-Skulls,+40x37.25,+oil,+wax+on+canvas.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5514939674477753442" /></a><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><em>Still Life#1-Skulls, 40 x 37.25, oil, wax on canvas</em><br /><br />For Immediate Release<br />Contact: Karl Slocum <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBUNvPNCuZ_ohQsdrRB455ibNtvGIgm1AMOLzh5ZB6ffbVFvwKUbQgBK0nZB6m24oCrJhTneA4TE3xr9KSh-n3dChXCximeGPgVL0dV5-aojSsFz8ctSru9hW0IarHzPHXG_hD-BUhWKoY/s1600/Still+Life%231-Skulls,+40x37.25,+oil,+wax+on+canvas.jpg"></a><br />267 455 0279<br /><a href="mailto:karl@knappgallery.com">karl@knappgallery.com</a><br /><br />The Knapp Gallery Presents<br />R. Michael Walsh: Recent Works 2010<br /><br />First Friday Opening: September 3rd<br />Exhibition: September 3rd – September 26th<br />Artist Reception: Sat. September 11th (6pm -9 pm)<br /><br />(Philadelphia) – The Knapp Gallery continues its tradition of First Friday openings and welcomes R. Michael Walsh in his second solo show at the Knapp Gallery. The Knapp Gallery’s “house” painter, Michael has completed numerous commissions for Knapp gallery owners Barclay and Rebecca Knapp. A veteran painter, Walsh graduated from The Tyler School of Art.<br /><br />Solid and definable work best describes a low-key <em>cat</em> that can paint his ass off. With astonishing pointedness, Michael guides viewers through his mythical and labyrinth-ical world. Recent Works 2010, including a few self-portrait-esque images, Michael takes of the kid gloves and brandishes the bare knuckles of a youthful pugilist. At fighting weight Walsh is razor sharp. Recent Works 2010 is near intimidating, challenging us with combating elements - the creature and the creation. Balance and harmony counter a demanding imbalance. Causality is brilliance.<br /><br />An author through imagery, Walsh weaves tales of forbidden ecstasies, wrestling with issues of morality and or immorality, adolescent naiveté and decay. Of all my painters, Walsh paints with the hardest edge. Contemplative by nature, Walsh investigates below the surface - questioning the root cause of our yearnings. Classical tone and composition, solids and stripes, Walsh’s pale and matte palette enhances his quietly dark dramas; absolutely dark in their absolutism. With no middle ground, Walsh’s paintings are about life and death; albeit served with a side of satire.<br /><br />No bones about it, Michael’s work is a heady psychedelic representation of an archeologist’s dream while on acid. An in depth study in the “still life”, Walsh will tell you that a bone is as still as it gets. Skeletons and skulls, beyond human infrastructure are things of beauty; their core value outweighing their inherent morbidity.Karl Slocumhttp://www.blogger.com/profile/13671641427259974902noreply@blogger.comtag:blogger.com,1999:blog-3050648620085776405.post-6103779926381533402010-08-18T17:20:00.000-07:002010-11-05T09:28:09.896-07:00Just in CaseI am off to Brasil in the morning. My last trip was the worst flight ever. More like a roller-coaster ride. My faith sustained me. I return home, God willing next Thursday. On the outside chance I don’t make it back, I wanted to make sure I left some lasting words.<br /><br />What an awesome opportunity it is to participate in the Philadelphia “Fine-Art” community/family. There is some wonderful stuff happening here. While I beat up hard on the infrastructure, I am smitten with Philadelphia and what it offers. I am blessed to have been invited to the party.<br /><br />I stand by my belief in Philadelphia’s ability to grow into a “World Class” Fine-Art community.<br /><br />I want to be clear. There exists a significant contingent of serious tradesman in Philadelphia. That has never been my issue. Lacking a City-Wide reputation for excellence, we are unable to generate a satisfactory response to our professionals and their artwork. All of my efforts, whether understood or not, have been to reverse this attitude and trend. Considering and promoting infinite possibilities is the supporting dogma of my doctrine.<br /><br />We’ve created a few different avenues of contributing to the Fine-Art landscape here in the city. Our 2011 events include:<br />• PIFA - Pennsylvania International Festival of the Arts.<br />• LUPUS Foundation of America/Knapp Gallery Fundraiser<br />• City-Wide MFA Graduate Art Contest<br />• Submitted proposal creating significant employment opportunities to MFA graduates.<br /><br />My 2011 exhibition calendar is stellar. I’ll share in a minute. Before I close I wanted to make a few acknowledgements:<br /><br />Awesome folks Philadelphia has in Barclay and Rebecca Knapp. Thanks for everything; for the freedom, patience, belief and faith in me. Your vision for Philadelphia is pure. I’m proud to know you as friend and employer; Proud of seriving on your team.<br /><br />Thanks to Christopher Callahan. Meeting Chris, sharing his art and life has been a thrill. Vicariously, Chris’s art has satisfied places that escaped me in my own artistic quests as a painter. Like a pheromone, Chris’s love for the craft permeates his product. I treasure my personal collection of Callahan paintings. Imagine that, I have a Callahan collection to bequeath to my kids.<br /><br />Tom Brady may be Philadelphia’s best kept secret. Command, color and control come to mind when thinking about Brady’s work. Solid process – field sketches-to pastel -to paint. Remarkable freedom - abstract landscapes that redefine the genre. Form and figure shaped by the moment. Brady’s work holds history sacred while outreaching cosmopolitan constraints. He is present in his work.<br /><br />Michael Walsh –Thanks – you are a good cat. I enjoyed our pilgrimages north to the boss’s house. Paint your way free. You’ve got all the stuff to be with the greats. Don’t settle.<br /><br />I am privileged to have these painters in my stable.<br /><br />The remainder of ‘010 and next year’s 2011 Knapp Gallery exhibition calendar validates our commitment to seek out the best available artwork: Special thanks and prayers to our December Trio as they continue to carve their way higher. Competing with Christmas, December is a tough month to hang.<br /><br />One last thing - most important. Special thanks to Tereza, my personal assistant / Assistant Director. Tereza - thanks for everything. I know who you are now. You are the angel sent down from Heaven. God bless you and yours. I leave you the gallery table.<br /><br />Thanks gang.<br /><br />Karl<br /><br /><br /><br />August 2010 (Solo Show)<br />• Chris Callahan - current exhibition - <a href="http://www.flickr.com/photos/christopherart/">http://www.flickr.com/photos/christopherart/</a><br /><br /><br />September 2010 (Solo Show)<br />• Michael Walsh –<br /><br /><br />October 2010 (group show)<br />Alfred Ortega<br />Marjorie Grigonis<br />Umberto Nigi<br />Tom Brady<br />Al Razza<br />Chris Callahan<br />Jim Bloom<br />Matt Baumgardner<br /><br />November 2010m(Solo Show)<br />• Marjorie Grigonnis – Abstractionist – Philadelphia painter - <a href="http://www.marjoriegrigonis.com/">http://www.marjoriegrigonis.com/</a><br /><br />• Katherine Kurtz – Abstractionist –Philadelphia painter-<br /><br />December 2010 (3 –man)<br />• (Kevin Von Holtermann)- www.kevinvonholtermann -<br />http://www.facebook.com/pages/KEVIN-VON-HOLTERMANN-ABSTRACTS/270164592352<br />• Gail Kotel -<br />• Salvador Di Quinzio -<br /><br />2011<br /><br />January (Two Man Show)<br />• Nicolas King (Ex-Barnes Foundation Director- Chris Callahan Barnes foundation corroborates Chris Callahan’s Barnes Foundation story.<br />• Petros Pappalas. Young cat strong hand. Represent/Abstract figure – <a href="http://www.petrospappalas.blogspot.com/">http://www.petrospappalas.blogspot.com/</a><br /><br />February (Solo Show)<br />• Margaret Zox Brown – New York City painter. Journeyman. Strong color, bold figure, strong composition, well painted, “Philadelphia” connections – brings good new blood to our family. <a href="http://www.margaretzoxbrown.com/">http://www.margaretzoxbrown.com/</a><br /><br /><br />March (Solo Show)<br />• Mark Bullen - PAFA Graduate – Portrait artist – representationalist with a twist. Bullen is strong. <a href="http://www.markbullenstudio.com/cv.htm">http://www.markbullenstudio.com/cv.htm</a><br /><br /><br />April (Solo Show)<br />• Humberto Nigi - Brazilian painter – <a href="http://www.umbertonigi.com/">http://www.umbertonigi.com/</a><br /><br /><br />May (Solo Show)<br />• Al Razza –Florida Painter. Razza is custom painting our Lupus event promotional artwork. He is auctioning the original painting at the LUPUS Fundraiser. His show at the Knapp Gallery is the backdrop of the “Gear Theme” throughout the body of Work. A “LIVE” Choreographed dance piece is one of our entertainment components for the LUPUS event. <a href="http://www.razzadesign.com/">http://www.razzadesign.com/</a><br /><br />June (Solo Show)<br />• Tom Brady - <a href="http://www.artnet.com/artist/425245685/tom-brady.html">http://www.artnet.com/artist/425245685/tom-brady.html</a><br /><br />• <a href="http://theknappgallery.blogspot.com/2010/04/tom-brady-why-is-it-wonderful-art-of.html">http://theknappgallery.blogspot.com/2010/04/tom-brady-why-is-it-wonderful-art-of.html</a><br /><br />July (Solo Show)<br />• Alfred Ortega – PAFA graduate. House full of art. <a href="http://www.alfredortega.com/">http://www.alfredortega.com/</a><br /><br />August (two man Show)<br />• Michael Walsh –<br />• Jim Bloom-ultrasound outsider artist - <a href="http://www.jgbloom.com/">http://www.jgbloom.com/</a><br /><br />September (Solo Show)<br />• Chris Callahan – Chris paid the rent last year - <a href="http://www.flickr.com/photos/christopherart/">http://www.flickr.com/photos/christopherart/</a><br /><br />October (Solo Show)<br />• Matthew Clay Baumgardner – We have been working on a show for two years – A SERIOUS PAINTER- I have known Matt for nearly twenty three years. A New York painter, once a dweller in New Jersey, now residing down south – An internationally recognized painter. <a href="http://www.baumgardnerart.com/">http://www.baumgardnerart.com</a><br /><br />November (Solo Show)<br />• Clintel Steed – Awesome abstract painter. New York City - Represented by Lynn Dunham <a href="http://www.lynndunham.com/">http://www.lynndunham.com/</a><br /><br />• <a href="http://www.borghifineart.com/html/artistresults.asp?artist=35">http://www.borghifineart.com/html/artistresults.asp?artist=35</a><br /><br />December (Solo Show)<br />• William Knight – may be New Jersey’s best kept secret- <a href="http://www.inliquid.com/artist/knight_william/knight.php">http://www.inliquid.com/artist/knight_william/knight.php</a><br /><a href="http://www.inliquid.com/artist/knight_william/knight.php#paint">http://www.inliquid.com/artist/knight_william/knight.php#paint</a>Karl Slocumhttp://www.blogger.com/profile/13671641427259974902noreply@blogger.comtag:blogger.com,1999:blog-3050648620085776405.post-49533770015934645492010-08-17T13:21:00.000-07:002010-08-19T06:01:08.275-07:00John Abner - Philadelphia Journeyman Painter<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1k5q8Xi7ocFqQXhr_m79t8Nk3-FLNWOJ3f5R1DfdjhrORMqDJyd3pZkZoDxPqbu0B9ZDF2udLVgj-tc1J5_rdIGKNIw7YF45T_77L8C_Xlkya19H5aqF3vvxz5q9DcHxpp2x13SAeIqAS/s1600/04.JPG"><img style="MARGIN: 0px 0px 10px 10px; WIDTH: 134px; FLOAT: right; HEIGHT: 200px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5506477280652900226" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1k5q8Xi7ocFqQXhr_m79t8Nk3-FLNWOJ3f5R1DfdjhrORMqDJyd3pZkZoDxPqbu0B9ZDF2udLVgj-tc1J5_rdIGKNIw7YF45T_77L8C_Xlkya19H5aqF3vvxz5q9DcHxpp2x13SAeIqAS/s200/04.JPG" /></a><br />Diligence has its rewards. The Bible confirms it, “… knowing that He rewards those that diligently seek Him.” This is a universal law. Pursuing diligence has a measureable payoff. To survive and thrive as an artist in Philadelphia an artist must be diligent. Today, I am compelled to acknowledge the fortitude of one such diligent Philadelphia artist; John Abner. There are many others. Today it’s about Abner.<br /><br />As Gallery personnel, on a regular basis, we look at lots of art. Whether during studio visits, CD requests in the mail, online, at opening receptions, the museums, the street artist, art related events, we see tons of Artwork. Bombarded with imagery, we are often “Art Drunk” and numb to the incoming stream of imagery. Consequently, we must rely on varied innate mechanisms to trigger our synapses and <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizyoBi1a6AoHybvMwXTfA7D3_BLMR-GEA-Nolspc5AVMzQS4fAIpPkt0-tku_gDsZZYSnJAlL4It7fm3KqaRTKiwLhNW1z7LvMAj2tyxvwyTTSVczW4rVeQzvx4oZutk8LL98yJWvou3B2/s1600/05.JPG"><img style="MARGIN: 0px 10px 10px 0px; WIDTH: 134px; FLOAT: left; HEIGHT: 200px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5506479168612379250" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizyoBi1a6AoHybvMwXTfA7D3_BLMR-GEA-Nolspc5AVMzQS4fAIpPkt0-tku_gDsZZYSnJAlL4It7fm3KqaRTKiwLhNW1z7LvMAj2tyxvwyTTSVczW4rVeQzvx4oZutk8LL98yJWvou3B2/s200/05.JPG" /></a>cut through the numbness. It takes strong artwork to get the synapses firing.<br /><br />There are times when something strikes us hard but is not long lasting. At other times, we like and appreciate something that carries us down the road much farther. The keepers grab us and don’t let go of us. Unfortunately, finding everlasting like is the exception and not the norm. Keeping score is difficult. There are many ways we categorize our varied artistic tastes. From a business perspective, “Strong” work generates confidence in trading. This is the artwork we see and return to as the “givens” in our equations of acceptability. This is artwork that holds up on its own across the board; stands up critically against mush of the contemporary work that’s out there. This is the level of artwork that keeps your attention and<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjF-tGU5HusfZdFIjUE5C6dDpJS-Ahk6DYSe8K3t6t3tUk8ZXrzX2BP-Vs2ShsINB8E4oB7JlNOQv153jpJZFPMNUSnqxTPN1PZ-eZ_d9TKjJlC7uGbCemKoeAemdhqlxhscAgmZwxUvPt2/s1600/03.JPG"><img style="MARGIN: 0px 0px 10px 10px; WIDTH: 134px; FLOAT: right; HEIGHT: 200px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5506480127995640578" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjF-tGU5HusfZdFIjUE5C6dDpJS-Ahk6DYSe8K3t6t3tUk8ZXrzX2BP-Vs2ShsINB8E4oB7JlNOQv153jpJZFPMNUSnqxTPN1PZ-eZ_d9TKjJlC7uGbCemKoeAemdhqlxhscAgmZwxUvPt2/s200/03.JPG" /></a> demonstrates professional confidence. This artist, having put in his time, paid his lumps has learned the many sides of the art business. Many call this the work of a journeyman. Their vision is clearly presented with confidence; their work commands respect.<br /><br />Recently, I ran into some strong artwork by a <em>mixed-mediast</em>. I’ll be honest, I was caught off guard. My usual bent for the “straight” painter was eclipsed by the power of Abner’s work. I yielded to its strength. Asked to present the artwork on August 28, 2010 at “The fourth Wall Salon” <a href="http://www.fourthwallarts.org/">http://www.fourthwallarts.org/</a>, at the Trinity Center for Urban Life, (South) 22nd & Spruce Streets, I met with Abner to preview the work to be displayed. As a side note, Abner, having studied "stain glass", serendipitously became part of the team that rei-installed the stain glass windows at the Trinity Church.<br /><br /><br />The work came to me! Almost like a reminder of why I am here, the reason why I am fighting for the Philadelphia artist, I was sent prime examples of the awesome “Fine-Art” that exists and is being created here in Philadelphia. Abner, born and raised a Philadelphian, a product of Temple University's Tyler School of Art, beyond his painting talents is a remarkable resource of Philadelphia art history.<br /><br />Accredited accolades validate his prominence as an accomplished artist, activist and educator. Having coordinated several projects with the Mural Arts Program in Philadelphia, he has also exhibited his artwork in juried shows locally and nationally. Abner has been published in several <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDIKxhLcbb17vJBQJYRXx6pRzrZNg2xyyAS-PWaePep9jDXtp76H88T1aXZqO9RLSeab4sqSZWDV-2x3f-H2CjBbfgfJAFWLgBqIgqggTb_geFWlcO8PS0e-ecBWAIMwwaU_-QsbV-J4HL/s1600/02.JPG"><img style="MARGIN: 0px 10px 10px 0px; WIDTH: 134px; FLOAT: left; HEIGHT: 200px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5506481905741769154" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDIKxhLcbb17vJBQJYRXx6pRzrZNg2xyyAS-PWaePep9jDXtp76H88T1aXZqO9RLSeab4sqSZWDV-2x3f-H2CjBbfgfJAFWLgBqIgqggTb_geFWlcO8PS0e-ecBWAIMwwaU_-QsbV-J4HL/s200/02.JPG" /></a>publications including Roll Call: A Generational Anthology of Black Literature and Art by Third World Press.<br /><br />I am not normally given to spelling out the nomenclature. In this instance, I think it is important to share the caliber of artists that have remained in Philadelphia carving out career paths despite a “Fine-Art” community that has not responded in-kind. I am compelled to share John Abner’s work despite my full calendar here at Knapp. I am convinced similar acknowledgements will bolster my argument of Philadelphia “possessing” the power and ability to nurture and retain solid professional Fine-Artists.<br /><br /><em>Maybe that’s what I need to do-dedicate a portion of my blog to acknowledging Philadelphia’s journeymen.</em><br /><br />Abner has been diligent in designing and creating this contemplative body of work. His work is challenging and will give you pause. With sophisticated and innovative vision John’s imagery is “hooded” or veiled by a barrier, a bold black matrix-<em>esque</em> gridding. Requiring intuitive skills, the viewer is forced to fight through the barrier like a combatant. In time, the viewer’s senses align and discern an appropriate way to focus around the obstruction; solving the puzzle.<br /><br />The resulting phenomenon: The gridding seemingly dissipates, becomes less combative and falls submissive to the now dominant de-puzzled imagery. Abner showed me a series of these medium-sized mixed-media studies that he will now enlarge into larger works.<br /><br />Thumbs up!<br /><br /><a href="http://www.fourthwallarts.org/"></a>Karl Slocumhttp://www.blogger.com/profile/13671641427259974902noreply@blogger.comtag:blogger.com,1999:blog-3050648620085776405.post-15894560524358767322010-08-13T12:36:00.000-07:002010-08-17T13:21:31.326-07:00Chris Callahan - He’s back.Return artist exhibitions, RAs, mark anniversaries. It has been nearly a year since <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkr4C6NhRZm2BDM1IyNBjPJeweJV2oSi1_aOVmx2XPc2qbW-BxkXz6d04QFluWOtQ-ZiVG0Iq33jvm9a594nJLuS-yI8xWAhMdD756tGnsYTQWqZokLTRryv64F0se_J-B4bUXwqJQi6xC/s1600/callahan+opening3.jpg"><img style="MARGIN: 0px 0px 10px 10px; WIDTH: 200px; FLOAT: right; HEIGHT: 150px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5504984693013601858" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkr4C6NhRZm2BDM1IyNBjPJeweJV2oSi1_aOVmx2XPc2qbW-BxkXz6d04QFluWOtQ-ZiVG0Iq33jvm9a594nJLuS-yI8xWAhMdD756tGnsYTQWqZokLTRryv64F0se_J-B4bUXwqJQi6xC/s200/callahan+opening3.jpg" /></a>Chris Callahan was here last at Knapp. My excitement has not waned since hanging the show and enjoying Chris’ Artist Reception held last Saturday on the 7th. Chris’s latest selection of paintings <em>Below See Level</em> is a celebration of confidence, color and commitment.<br /><br />The opening reception was awesome. We had a wonderful turnout with about 60% of Callahan’s buyers from last year attending the event. <em>Leroy and Traci </em>were absent. She did however stop in earlier in the day and loved the show. Leroy and Traci, overall, were my most committed co<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjjreI2qZjG7Yn3C4XdAJ0hb_pGkFJidmsDvTOQXG_fscStLlwQ3RcUA0BXP_Y_wmKKoyk5HwJiK1ZxlSSudTYYtpmKfdcre7O-BrdEvEG11jchYftGyyI_Q3sRM0eDu-_RlFH0QRP2gz6/s1600/traci+and+junior4.jpg"><img style="MARGIN: 0px 10px 10px 0px; WIDTH: 200px; FLOAT: left; HEIGHT: 158px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5504985882586390114" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjjreI2qZjG7Yn3C4XdAJ0hb_pGkFJidmsDvTOQXG_fscStLlwQ3RcUA0BXP_Y_wmKKoyk5HwJiK1ZxlSSudTYYtpmKfdcre7O-BrdEvEG11jchYftGyyI_Q3sRM0eDu-_RlFH0QRP2gz6/s200/traci+and+junior4.jpg" /></a>llectors from last year. <em>Refer to my November 12, 2009 blog: Traci and Leroy – Old City Collectors</em>. Come to think of it, I’d like to photograph the <em>bather</em> painting the dynamic duo acquired last year with this year’s current bather painting as a comparrison of styles.<br /><br /><a href="http://www.theknappgallery.blogspot.com/2009_11_01_archive.html">www.theknappgallery.blogspot.com/2009_11_01_archive.html</a><br /><br /><br />Throughout the night, collectors gathered at my PC sharing and comparing images from last year’s show and acquisitions. It was remarkable as they walked back and forth from pc to new paintings to compare ch<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgv7-DjVf6Ng42_jue_9vEU2KiDK4Da2Q0eRcBS55wIQAYkyj8mqqttjM0p8DjTepKuRWvZF1Yn__IfYJbz7_4hJCFsEosgM8_ExyEubdoP76CDs_ryRO4c4J9_NYglatjln7La1JAzgi0J/s1600/callahan+opening1.jpg"><img style="MARGIN: 0px 0px 10px 10px; WIDTH: 200px; FLOAT: right; HEIGHT: 150px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5504987910193957298" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgv7-DjVf6Ng42_jue_9vEU2KiDK4Da2Q0eRcBS55wIQAYkyj8mqqttjM0p8DjTepKuRWvZF1Yn__IfYJbz7_4hJCFsEosgM8_ExyEubdoP76CDs_ryRO4c4J9_NYglatjln7La1JAzgi0J/s200/callahan+opening1.jpg" /></a>anges from last year. There was lots of excitement. Donald Carter, long time Knapp Gallery patron and Philadelphia Art historian exclaimed “more than a social affair, this is what an opening is supposed to look like, people gathered around in front of paintings and talking about the work. You don’t see a lot of that these days.”<br /><br />Chris has hung a remarkable show. The work is confident with a definably new palette made up of blues and greens. Earlier this year, Chris and I got together and swapped materials for some paintings. Included in the pile of paint was a 200 ML tube of Lukas 1862 Prussian blue. Well, I must say, he worked the snot out of that tube of paint. - Chris knows how to move me around when necessary. Sometime last year, Chris needed paint and materials. I had tons. <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJEsG8u0h6Y2qBYlXYQEQDGlIZ5uFLYtCKEG2KJExMLm2T2Jk3M80cRIAHc0Kprz5EKuuJ8-OeqHXgM-u9PUO_4-wxRO2p4d7I3mewAQZuKTeyAhcrhgdxD5yx1DGb91FtoBfewuniSSw2/s1600/Bather+By+the+Creek,48x60,+Acrylic+Mixed+Media.jpg"><img style="MARGIN: 0px 10px 10px 0px; WIDTH: 151px; FLOAT: left; HEIGHT: 200px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5504989538488750658" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJEsG8u0h6Y2qBYlXYQEQDGlIZ5uFLYtCKEG2KJExMLm2T2Jk3M80cRIAHc0Kprz5EKuuJ8-OeqHXgM-u9PUO_4-wxRO2p4d7I3mewAQZuKTeyAhcrhgdxD5yx1DGb91FtoBfewuniSSw2/s200/Bather+By+the+Creek,48x60,+Acrylic+Mixed+Media.jpg" /></a>I am not painting right now and could afford to let a quantity of material go to a good cause, in trade. It was a “good trade.” I’ve made similar trades with my other painters. I am aware that in my line of work, it is in my best interest to keep fresh quality materials around. Some of my best art has been acquired through trade. Now, I have a sizable Callahan painting collection.<br /><br />In this new body of work, Callahan challenges us to travel back and embrace the<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQeYjwdLJTTInL9eMSJx6d-20ajc2S_NoxsOV_VdhLWB3DHzfWoLWEQBp5zKNITHMx4mWWt5Io9XaX0m9CqhiW1gkZA1riP6P1MzqRX9mebWonDN9DsU722A4whGlcGM0Clpk1LQe6_9M9/s1600/me+and+my+chuck+taylors.jpg"><img style="MARGIN: 0px 0px 10px 10px; WIDTH: 150px; FLOAT: right; HEIGHT: 200px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5504999934197416194" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQeYjwdLJTTInL9eMSJx6d-20ajc2S_NoxsOV_VdhLWB3DHzfWoLWEQBp5zKNITHMx4mWWt5Io9XaX0m9CqhiW1gkZA1riP6P1MzqRX9mebWonDN9DsU722A4whGlcGM0Clpk1LQe6_9M9/s200/me+and+my+chuck+taylors.jpg" /></a> freedom and power of our youth. Including a painting titled <em>Me and My Chuck Taylors</em>, Chris identifies with his core youthful force. This minute iconic detail, magnified by the title, in its minimalism breaks through the cacophony of color claiming its validation. Chris is defiant in the moment, knowing his strength and faith in taking on the challenges of his craft. <em>Chris propped a youthful photograph of him at 7 years old in shorts and black hi-top Pro Keds on the Gallery side table.</em><br /><br />I was so moved by the piece that I went out and bought a pair of Chucks. I have not owned a pair of All Stars in 34 years. Interestingly, I did not buy the traditional canvas high black so prevalent today. I opted for a current and cosmopolitan version with lined canvas and padded ankle support; old men like cushion on their feet. I am <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpJVFZFv6NhMQxWK_Av2s1f_vAIqYLKzEOklmnHloBxcFOYV_-lcFlUEQddWWtByfnLbWCeoDjxsO9kQ5Yeoso9UHu7TJ7fFPHNm-KMEuXadbuJvBrif_7KYMaUNMNO5P-h56W5mmLoA9N/s1600/chucks.jpg"><img style="MARGIN: 0px 10px 10px 0px; WIDTH: 200px; FLOAT: left; HEIGHT: 150px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5505008360313215378" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpJVFZFv6NhMQxWK_Av2s1f_vAIqYLKzEOklmnHloBxcFOYV_-lcFlUEQddWWtByfnLbWCeoDjxsO9kQ5Yeoso9UHu7TJ7fFPHNm-KMEuXadbuJvBrif_7KYMaUNMNO5P-h56W5mmLoA9N/s200/chucks.jpg" /></a>wearing them right now. In my chucks, like Chris, I am invincible. I am light with a fearlessness that claims dominion over life’s challenges and embraces its infinite possibilities. I called the sales and promotion department of Converse Ltd.; invariably they send you to an answering machine… “We’ll get back to you blah, blah, blah... My message was brief but shared the power of Chris’ paintings (there are a few paintings that include his hi-tops). I told them I wanted a truckload of black Hi-Tops for the opening reception. Apparently, they did not share my enthusiasm; they did not get back to me.<br /><br />In my mind, a gallery filled of patrons being fitted with Chuck Taylor hi-tops would epitomize the art of Chris’ transcendent message; a real-time installation that spontaneously generates mass freedom, mass invincibility, mass fearlessness. <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDtxfuS6NxTRv5WKNuOL3YTwrtYaa6Mmq7v9qIImBbcqf0jkVfmhmanKWpDEYOA1IcM_YmXnz9P1b5DLN26hsZUTnlYnYxrg1QLWds6x_yjfCM3vAgHr3GqIuK5cUPKHWvckBDq0MvyQoo/s1600/Paudash+Lake,+36x48,+Acrylic.jpg"><img style="MARGIN: 0px 0px 10px 10px; WIDTH: 150px; FLOAT: right; HEIGHT: 200px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5505009373014035442" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDtxfuS6NxTRv5WKNuOL3YTwrtYaa6Mmq7v9qIImBbcqf0jkVfmhmanKWpDEYOA1IcM_YmXnz9P1b5DLN26hsZUTnlYnYxrg1QLWds6x_yjfCM3vAgHr3GqIuK5cUPKHWvckBDq0MvyQoo/s200/Paudash+Lake,+36x48,+Acrylic.jpg" /></a><br /><br />Walking in the confidence of his two shows last year, Chris introduces an abstract-landscape series of paintings that scream “I am here.” The show moves with a rythym, in and out of definable genres. Derivatives of last year’s Impressionist renderings are infinitely looser; leaving us room to fill in some of the blanks. While Chris’s figure and form representation is decisively Callahan, much of what we see is from the hand of a new painter.<br /><br />Unique to Chris’s latest body of work is a <em>study</em> we might dedicate to the American painter. Fundamentally a depiction of God’s honoring of His creation and the creature, we are offered an introspection of Callahan’s subconscious. Thematically, Callahan has created an interplay be<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFwNHGpBR5c2tU5hZY_swM-bZ1CTYdH57PkWK2gheFKquXM6-7xjNwgGKLAH13A_yS1LoJXcjf_tl8nUduiDsi0sg6dpSQMytXmApKd5F71hqSfOcfUW2_y1lrkAR9P-QhW1ITE0evnkKY/s1600/Duck+Hole,+36x48,+Acrylic.jpg"><img style="MARGIN: 0px 10px 10px 0px; WIDTH: 200px; FLOAT: left; HEIGHT: 150px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5505013011398475474" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFwNHGpBR5c2tU5hZY_swM-bZ1CTYdH57PkWK2gheFKquXM6-7xjNwgGKLAH13A_yS1LoJXcjf_tl8nUduiDsi0sg6dpSQMytXmApKd5F71hqSfOcfUW2_y1lrkAR9P-QhW1ITE0evnkKY/s200/Duck+Hole,+36x48,+Acrylic.jpg" /></a>tween homosapien and the surrrounding creation; man’s lonely existence portrayed and juxtaposed to the forces of nature. Including titles <em>Moonlit Camp</em>, <em>Lone Camper</em>, <em>The Poet</em> and <em>Truce</em>, Callahan’s Ode to folk painting avails us to the painter’s nuts and bolts; the mechanics.<br /><br />Callahan, enamored with the historicity and traditions of the American painter. Traveling north in summers, idealizing the landscape as spiritual metaphors, Callahan explores the <em>symbology</em> of his redefined iconography; the fire, hatchet, smoke, the stag. Taming the frontier of our inner selves and harnessing our desire for freedom, Callahan paints out<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCZNGYQZ78a52MHI0PgbR8nEVZnukQutIHKPOoJYRKeIbLUTCZU-j2JMijZ4BVpBrxuA8D7TvXnHzslgg1WJFzS6rpaM7aY2L2yBYfzuKBG3BYkyXXPKxE7jfOf9dL8xkdZUXdFSo7yJOb/s1600/Evening+Camp,+34x44,+Acrylic.jpg"><img style="MARGIN: 0px 0px 10px 10px; WIDTH: 140px; FLOAT: right; HEIGHT: 200px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5505340838213008354" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCZNGYQZ78a52MHI0PgbR8nEVZnukQutIHKPOoJYRKeIbLUTCZU-j2JMijZ4BVpBrxuA8D7TvXnHzslgg1WJFzS6rpaM7aY2L2yBYfzuKBG3BYkyXXPKxE7jfOf9dL8xkdZUXdFSo7yJOb/s200/Evening+Camp,+34x44,+Acrylic.jpg" /></a> confining societal constraints. Transcending our horizontal existence, Callahan’s romantic notions of self sufficiency acknowledges of our vertical spirituality through spiraling of smoke. “Day to day - moon to moon” Callahan visits Native American notions of air, fire, water and earth.<br /><br />Meeting and exceeding all of my expectations, Chris has made good on the expectations of those that have passed on; one-time collector of Chris’s watercolors and pen and ink drawings, Violette de Mazia, one time Director of the renowned Bar<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5x9L0L5J1HWraG6GEORO5Q5Wq5p16xVBxBSqf9raSJDGKEDBQeXXU5rlcMa2EIBZ-KpjBa6jXNBJTgxtc-RcAfSK7EgyOmDFAYn2vxgZstqsATjDX7s5AGUGJGJDE7Jhdz52k5UHqQZCB/s1600/Deer+and+Stream,+23x53,+Acrylic.jpg"><img style="MARGIN: 0px 10px 10px 0px; WIDTH: 93px; FLOAT: left; HEIGHT: 200px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5505341458529499186" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5x9L0L5J1HWraG6GEORO5Q5Wq5p16xVBxBSqf9raSJDGKEDBQeXXU5rlcMa2EIBZ-KpjBa6jXNBJTgxtc-RcAfSK7EgyOmDFAYn2vxgZstqsATjDX7s5AGUGJGJDE7Jhdz52k5UHqQZCB/s200/Deer+and+Stream,+23x53,+Acrylic.jpg" /></a>nes Foundation. Corroborating stories hold that when de Mazia’s personal effects were sold at auction, a box labeled "Callahan" was included. Beyond this historicity, I have seen the stack of drawings from which Miss de Mazia extracted her collection. With a remarkably confident “one-line” sense of purpose, Chris’s drawings excel as intimate gestures.<br /><br />Chris’ dynamic history with the Barnes Foundation is nothing shy of book worthy. Interestingly, he downplays the significance of his intimate knowledge of what many consider the world’s foremost collection of post impression paintings. Chris wants to be known soely for his paintings and commitment to his craft. Nicolas King, Ex-Director of the Barnes Foundation sent me a letter last year, long after the Callahan exhibitions had come down:<br /><br /><em>“Karl, after several calls I have finally had a chance to see your blog. Your very kind, and astute, comments regarding Chris Callahan's paintings were welcomed. I would venture to shed more light on the relationship of Chris and The Barnes Foundation. Chris was hired as a Gallery Assistant (not a custodian) by me as Superintendent of the Collection. His duties were mainly assisting me with the care and preservation of the collection. This included the assembling (daily) of the average of 35 works of art from the galleries 96 walls and over 100 for the first-year class of Violette de Mazia. This practice was finally abolished at the urging of the National Gallery of Art for 10 years in 1991. Chris did however have an absolutely intimate relationship with the masterpieces in that collection. He further assisted me with the conservation and preservation of textiles (Navajo blankets, oriental rugs, tapestries, silver, furniture, and decorative objects in the collection (not paintings or works on paper).<br /><br />The watercolors of Chris came to the attention of Violette de Mazia who avidly collected them herself but also promoted and sold them to the Seminar students (4 groups 50 in each group) at the Foundation.<br /><br />In 1991 as Director of the Art Department, Director of the Arboretum, Head of Conservation (for the insurance values of the 82 paintings on the world tour [3.2 billion] and the inspection of the unpacking and packing of each item at all venues), Archivist, and Teacher of the First-Year Art Appreciation Class, Seminar and ever-expanding educational outreach programs and VIP programs I desperately needed help and asked Chris to return. He immediately endeared himself (again) to all who knew him with his capacity for hard work in his research and his intimate knowledge of the collection. His lectures for the docent program students (most had been students of Violette de Mazia) were not only respected but cheered. We were, and are, very proud of Chris. He is a remarkable man and I applaud your efforts on his behalf.<br /><br />Thank you and wishing you, and Knapp Gallery, the very best.”</em> Nicolas King<br /><br />I need to stop and share an important aspect of Chris, his paintings and our meeting. I’m in the mood to tell a story. Last year, Chris Callahan was delivered to me and the Knapp Gallery doorstep by the hand of God. It is clear that happenstance, serendipity or coincidence had nothing to do with our profound meeting. I believe in miracles. God, the author of miracles, loves Chris Callahan. He loves me too. <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0eWA3bRQwe8I2fqxk9oIfkEr9hAHZZH7HprJ_XM2dXC-S75OwhtXvtguN7Olrr5gKVV5aWAyRhy2FywgA5eiJgQoOmT87emDmshz8de76pJk5sUHWUatJIIhT9ctN6VCcR7WhOL04_tCa/s1600/Cyber+Cafe,+36x48,+Acrylic.jpg"><img style="MARGIN: 0px 10px 10px 0px; WIDTH: 148px; FLOAT: left; HEIGHT: 200px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5505342462088188002" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0eWA3bRQwe8I2fqxk9oIfkEr9hAHZZH7HprJ_XM2dXC-S75OwhtXvtguN7Olrr5gKVV5aWAyRhy2FywgA5eiJgQoOmT87emDmshz8de76pJk5sUHWUatJIIhT9ctN6VCcR7WhOL04_tCa/s200/Cyber+Cafe,+36x48,+Acrylic.jpg" /></a>Initially I was overwhelmed by the notion that such a remarkable and solid body of work not only existed but was also unknown. “Faithfully believing ‘the Lords will be done’, Chris painted patiently waiting for God’s plan and will to unravel. Nearly in a vacuum, Chris painted for 20 years in solitary; waiting and never perusing notoriety.” Until the Knapp gallery, Chris never showed nor sought gallery representation.<br /><br />The tragic death of Chris’s stepson, Asher, raised from a young boy, knocked the stuffing out of him. Grief stricken and beyond depression, Chris sequestered himself and shut down his studio. Out of concern, a lifetime friend, Edward (Eddie) MacDougal physically put Chris into his car and drove him down to the door of the Knapp Gallery. I was closing and had the key in the door! As they say, the rest is<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgx39ji0MAOD6b3_dmklz6o0OEIsQAK2ukS6aNlKLKZR9mG-IKXScp16Hohn7oQCgKpq5gyqxl4YliXeBVIOdeFOKDC2lxTjpYRL3CTLACjWt-Lz0jin4cOh-pHF2v90yHp9Yw7JEeMM7O3/s1600/Park+Scene,+48x60,+Acrylic+%26+Oil.jpg"><img style="MARGIN: 0px 0px 10px 10px; WIDTH: 200px; FLOAT: right; HEIGHT: 154px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5505342878496490050" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgx39ji0MAOD6b3_dmklz6o0OEIsQAK2ukS6aNlKLKZR9mG-IKXScp16Hohn7oQCgKpq5gyqxl4YliXeBVIOdeFOKDC2lxTjpYRL3CTLACjWt-Lz0jin4cOh-pHF2v90yHp9Yw7JEeMM7O3/s200/Park+Scene,+48x60,+Acrylic+%26+Oil.jpg" /></a> history.<br /><br />Only after I had offered Chris an exhibition slot, had hung Chris’s first show, had the First Friday opening did Chris share with me his Barnes Foundation story. Chris, desiring an acknowledgement based on a meritocracy, withheld his Barnesian connection. I actually found out through a friend of his that showed up at First Friday; an ex-Barnes Foundation student.<br /><br />Nicolas King, ex-Director of the Barnes foundation, installed at two different times, once by Violette de Mazia and the other by Richard Glanton was Chris’ first boss at the Barnes. King’s visit to Callahan’s show and subsequent letter validated and <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFerrjo_oa3IaVCEkNSh4VnmKOozjaKc4KQnrBPtTGCC6kAtygZ4dSPXJ75p7_54YUNZHrIn4SYRgBKlC3PtkGISFrIlY0s-M8Rf_ZcPprav2mLPeQc3IQy3Z9YdU661IE1IYyugram6Nn/s1600/chris+at+nicolas.jpg"><img style="MARGIN: 0px 10px 10px 0px; WIDTH: 200px; FLOAT: left; HEIGHT: 150px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5505344496615548386" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFerrjo_oa3IaVCEkNSh4VnmKOozjaKc4KQnrBPtTGCC6kAtygZ4dSPXJ75p7_54YUNZHrIn4SYRgBKlC3PtkGISFrIlY0s-M8Rf_ZcPprav2mLPeQc3IQy3Z9YdU661IE1IYyugram6Nn/s200/chris+at+nicolas.jpg" /></a>corroborated Chris’ story. However, the story does not end there. Nicolas King, an accomplished painter in his own right, along with Petros Pappalas will be showing his work here at Knapp as my lead-off painter in January 2011. Just last week, Chris and I went to Dover, Delaware to make a studio visit to check on Nicolas’ progress. The reunion was emotional, tearful and dramatic. Listening to these two old friends talk about the “old days” at the Foundation was priceless. My photograph of Chris standing in front of Nicolas’ paintings reveals an irony that is beyond words; two old guard Barnesian survivors.<br /><br />Chris’s body of work is about so much more than the <em>Chuck’s</em>. Foremost, we need to accommodate the frame of mind and reference regarding his work. For Chris Callahan, there is nothing else. There is only painting. I know this guy, good bad or indifferent. Whether you like it, understand it, believe in its authenticity or whether it has lasting value; this is all<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4clvg2DEacbCSPqf1JfpGOqNwY3MRm_GzWXTAkkuzpRpu4vtr39XH8SiOjlgw5LIj0Rr7ALFsu2nzQlCKI8KNlqfr6pY6fqbwFb7QoLUIYLISQOGlb8aaQGql2YXizy9s2A_Kr0QSp0Vx/s1600/Dog+Walker,+36x48,+Acrylic.jpg"><img style="MARGIN: 0px 0px 10px 10px; WIDTH: 200px; FLOAT: right; HEIGHT: 150px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5505345334896943490" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4clvg2DEacbCSPqf1JfpGOqNwY3MRm_GzWXTAkkuzpRpu4vtr39XH8SiOjlgw5LIj0Rr7ALFsu2nzQlCKI8KNlqfr6pY6fqbwFb7QoLUIYLISQOGlb8aaQGql2YXizy9s2A_Kr0QSp0Vx/s200/Dog+Walker,+36x48,+Acrylic.jpg" /></a> there is. For good or for worse, Chris’ contribution to humanity will be gifted through his painting. While he may have to do additional things to pay the bills, somewhere and somehow, by day’s end, he will be in front of the canvas. Of his viewers, buyers and collectors, Chris demands a commensurate commitment; having little patience for those of a lukewarm persuasion.<br /><br />For me, Chris Callahan exemplifies and represents infinite possibilities. Having created, nurtured, cultivated and harvested this new Callahan crop, we believe that our 2011 calendar, made up of predominantly new artistsis is demonstrative of similar possibilities. We have sought out powerful art and artists from many sectors, states and countries. We are confident our 2011 crop will yield a <em>few</em> more relationships like Callahan’s. In the midst of my optimism, I am also realistic; 12 for 12 seems unrealistic.<br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-85UzhSqr8WIj5Q-8cRhl_sNMctheCog9TIvayo1Bd6mBalTQe-nI0q6Pwl5m4q9T8zAfvCtLy2tADp-CQGthTMD7R144A62pcJiG38M1vIYY6rsnE7jaF48naUA3qUnJc-3l5t17Fkjd/s1600/Faraday+Lake,+36x48,+Acrylic.jpg"><img style="MARGIN: 0px 10px 10px 0px; WIDTH: 200px; FLOAT: left; HEIGHT: 148px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5505369408565020178" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-85UzhSqr8WIj5Q-8cRhl_sNMctheCog9TIvayo1Bd6mBalTQe-nI0q6Pwl5m4q9T8zAfvCtLy2tADp-CQGthTMD7R144A62pcJiG38M1vIYY6rsnE7jaF48naUA3qUnJc-3l5t17Fkjd/s200/Faraday+Lake,+36x48,+Acrylic.jpg" /></a>Rarely am I satisfied. Short lived are my victories. I quickly turn to newer and higher goals. My goals vary in nature. My goal and commitment in representing Chris Callahan is to earn him just rewards for his dedication. Clearly, as a reminder to my previous blog entry, I want to accomplish this while Chris is yet living and above ground. I want somehow between our website, blog and gallery to generate universal confidence among collectors’ inquiries; eve from around the world. However, I’ll start with Philadelphia.<br /><br />Recently, I had the opportunity to sell some non-Callahan paintings from my own personal collection. I had some paintings that I brought back from Brazil. A guest / collector at my home for dinner, I enjoy cooking, fell in love and had to have these four paintings by Humberto Nigi, my April 2011 painter. In this transaction I experienced a remarkable satisfaction in being able to share my artistic likes with a savvy collector. Agreement is a remarkable tool of validation. Consensus has its rewards. I’ll explain. I know my Artistic palette has value. When first saw the four Nigi paintings, I had the same reaction. Despite Nigi’s reticence to part with the treasures, “I had to have them.” Overwhelmed by my enthusiasm, Nigi packaged my quarry and I was on my way back home. Likewise, despite my reticence, Doug Webster left with my Nigi’s and a monster smile. Doug also loved the idea of being the first in Philadelphia to own Nigi’s paintings.<br /><br />If agreement is the fundamental notion of sharing perspective and opinion, then non-agreement, conversely, is the absence of consensus. Much of my job unfortunately is spent seemingly speaking into non-agreement. In my attempts to offer fresh-new<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBIkjm1M5vwU0DOs0CtdD7r9A1VR5WEGDrJHp4ZsYqLSaWAn6VrnLw5k5nQvvjn4sSlyqxxsMFTUWt_LWjpqBJBH5qNjXpLd1d576L3Gh0Bbj_-jyhgUFcuzrT3WM2bfoIPG_x8TuU3Wf1/s1600/Jazz+Bar,+48x60,+Oil.jpg"><img style="MARGIN: 0px 0px 10px 10px; WIDTH: 200px; FLOAT: right; HEIGHT: 152px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5505370356073098914" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBIkjm1M5vwU0DOs0CtdD7r9A1VR5WEGDrJHp4ZsYqLSaWAn6VrnLw5k5nQvvjn4sSlyqxxsMFTUWt_LWjpqBJBH5qNjXpLd1d576L3Gh0Bbj_-jyhgUFcuzrT3WM2bfoIPG_x8TuU3Wf1/s200/Jazz+Bar,+48x60,+Oil.jpg" /></a> perspective, I am met with significant resistance at every turn. The wear and tear of being an educator at times has me throwing my hands in the air mimicking Roberto Duran in his display of “no mas, no mas.” Representing hope, confidence commitment and longevity, the Chris Callahan’s keep me in the game.<br /><br /><em>Just for the record, I am on my way back to Brasil next week to pick up the first half of the Nigi paintings for his April 2011 show. Having generated some significant interest, I am making the work available for some pre-show sales. I am a huge fan of preexisting red dots at an opening reception.<br /></em><br />Gauging success is difficult. Discerning and selecting appropriate language that appropriately conveys the essence of this illusive vista is not without its challenges. Last year, my two Callahan exhibitions made up for the lion share of my sales. Significant is the idea <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTSWB-sAT2OJg-Fvg4N6AE1Lp2UlMwxmdGWStfQncgbDvvVpknDUh48l69pKwQWyxdR6iGYm7aZfLBq0HicE4-LOiDyKXGCCqOnzsQD-G1JpEXcccdzwjsD2wmif803ZCDqC4tz98BmAlc/s1600/Woodchopper,+30x40,+Acrylic.jpg"><img style="MARGIN: 0px 10px 10px 0px; WIDTH: 200px; FLOAT: left; HEIGHT: 150px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5505370984163478866" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTSWB-sAT2OJg-Fvg4N6AE1Lp2UlMwxmdGWStfQncgbDvvVpknDUh48l69pKwQWyxdR6iGYm7aZfLBq0HicE4-LOiDyKXGCCqOnzsQD-G1JpEXcccdzwjsD2wmif803ZCDqC4tz98BmAlc/s200/Woodchopper,+30x40,+Acrylic.jpg" /></a>that his artwork spoke and continues speak into <em>agreement.</em> In this business, multiple sales are the evidence of agreement. Last year we sold 8 or 9 paintings by Callahan. I don’t like that it distills down to the transferring of currency. It is what it is. To a great degree, we all enter this arena knowing that ultimately, this is about commerce. Beyond that, while paying the rent, we as a gallery exist as the means of continuance; the negotiating vehicle that assures future possibilities. I am here fighting for the survival of my painters; this as real as it gets.<br /><br />Let’s stop and define fight. Placing myself in harm’s way for the benefit of another is a satisfactory explanation of love. Sacrificing self for the greater good, <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoQnwJqSxIh-wNTh7t1Fm6OES_WiXgzK70L8vQ2N_gFch-bAi2VBJY0EWlTUcTriJplvGCga7DFyBndFr1WHs7WO-OaWdw3xTe24wy22_5Med2PGKD2hargmAHgbEDK44jvzbqTRBBPBpG/s1600/Bathers+and+Waterfall,+30x40,+Acrylic.jpg"><img style="MARGIN: 0px 0px 10px 10px; WIDTH: 149px; FLOAT: right; HEIGHT: 200px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5505371528404112834" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoQnwJqSxIh-wNTh7t1Fm6OES_WiXgzK70L8vQ2N_gFch-bAi2VBJY0EWlTUcTriJplvGCga7DFyBndFr1WHs7WO-OaWdw3xTe24wy22_5Med2PGKD2hargmAHgbEDK44jvzbqTRBBPBpG/s200/Bathers+and+Waterfall,+30x40,+Acrylic.jpg" /></a>staking ones reputation based on the efforts of another requires substantial commitment. In selecting my painters now, I must consider these variables. I am willing to risk reputation on Callahan. I once told Chris, before I had sold one of his paintings; Any art dealer, if they concentrated their efforts of just his work, they could make a satisfactory living.<br /><br />Look at a man while he is yet living. Here is a guy that handled the "dead guy’s" paintings on a daily basis. If we are to glean some knowledge and wisdom from the dead guys, let it be "invest in the living." Interestingly, I'm convinced the dead guys want their influence to have infinitely more value than unobtainable purchased prices. We are doing the lives of our master painters and their processes a significant disservice when we fail to investigate and acknowledge the living by-product of their influence.<br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXHDTWm2uZEucBYtP4XUSJpH9sAVPjsR_eBqkpkE-oLra10sRVodfu99Y2bEbRMLyqODjNEtC-M0JJej2M3sqeOCIJi6pC-PgeNLFRplQuZsDV3yFFLTJs0l9tjRheFLA1u7YDzHhjAuoE/s1600/bathers+2010.jpg"><img style="MARGIN: 0px 10px 10px 0px; WIDTH: 178px; FLOAT: left; HEIGHT: 200px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5505372822657835538" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXHDTWm2uZEucBYtP4XUSJpH9sAVPjsR_eBqkpkE-oLra10sRVodfu99Y2bEbRMLyqODjNEtC-M0JJej2M3sqeOCIJi6pC-PgeNLFRplQuZsDV3yFFLTJs0l9tjRheFLA1u7YDzHhjAuoE/s200/bathers+2010.jpg" /></a>Not too long ago, I received some feedback about a particular blog entry “be careful to keep my words soft and sweet as many have to eat them. “ At the time, I thought it was cute. I was showing Jim Bloom at the same time “Picasso” was showing at the Art Museum. Today, my tune and message has strayed little. I was selling wolf tickets, “I’m not afraid of the Art Museum – we just have different addresses.” The quote was something like that. The short of it is, I’m proud of the artwork that I show and promote.<br /><br /><a href="http://theknappgallery.blogspot.com/2009_11_01_archive.html"></a>Karl Slocumhttp://www.blogger.com/profile/13671641427259974902noreply@blogger.comtag:blogger.com,1999:blog-3050648620085776405.post-70364109700796969322010-08-08T09:31:00.000-07:002010-08-08T10:06:44.398-07:00I Solicit Your Help!<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpggTS7mklhgkFkrj26oTIpDkXZoihmTh8hCrVvGM1QRhAY_9bCvwRF6N0v_kjufVuoXNNFuG2EPG6UUs8S5oF2pNTbSs6hbJbpurc3IFFHupxsKtNy4Fsg_eMGm-GO7FeT4SbpaijyMVs/s1600/Solo+Dancer+with+Musicians+48x36.jpg"><img style="MARGIN: 0px 0px 10px 10px; WIDTH: 320px; FLOAT: right; HEIGHT: 244px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5503080311084709250" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpggTS7mklhgkFkrj26oTIpDkXZoihmTh8hCrVvGM1QRhAY_9bCvwRF6N0v_kjufVuoXNNFuG2EPG6UUs8S5oF2pNTbSs6hbJbpurc3IFFHupxsKtNy4Fsg_eMGm-GO7FeT4SbpaijyMVs/s320/Solo+Dancer+with+Musicians+48x36.jpg" /></a><br /><br />Hey gang,<br /><br />I need your help. Petros Pappalas, my Jan 2011 lead off painter has suffered an injury that prevents him from working his job as a waiter.<br /><br />Setting precedent, I am reaching out to viewers in an attempt to market some of Petros’ painting via my blog to stave off the wolves banging on his door. As He is dire financial straits, I am in a position to leverage this need and offer some of his work at significant savings.<br /><br />Should you see something that you like contact me directly at 609 402 5917 and I will make it happen. I have more images.<br /><br />Thanks for your consideration in this matter.<br /><br />With my fondest regards,<br /><br />Karl<br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzyvJp1fvobmm0Y7T8kWA17m6fTItfVlWVTz9m2Nlsh47xJQrIUog271AxuUl4TpIv6A55tj-qlZGOlHyTUIN05Noolfvt_wFAQ-kbCE-7zCtc5W3y-1MaGJt1hiFtSvciva6z0Gzibq7i/s1600/Pride+30x40.jpg"><img style="MARGIN: 0px 10px 10px 0px; WIDTH: 320px; FLOAT: left; HEIGHT: 241px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5503078420288368482" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzyvJp1fvobmm0Y7T8kWA17m6fTItfVlWVTz9m2Nlsh47xJQrIUog271AxuUl4TpIv6A55tj-qlZGOlHyTUIN05Noolfvt_wFAQ-kbCE-7zCtc5W3y-1MaGJt1hiFtSvciva6z0Gzibq7i/s320/Pride+30x40.jpg" /></a> <br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVXcAe6wGKtjJdOKcYOFeutx1YasX5IfRjAbVF4ZwQw8mwz8_v_by6AiM49J5EE5lzsuNeMzw8wzjlQXo_Q7kk6ZZ9Sikmu3vV1TX8pRpfSJdluJHMGBRaSNBJSMMGtBDHBI-EcLj0tebO/s1600/Rebirth+30x40.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 320px; height: 241px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVXcAe6wGKtjJdOKcYOFeutx1YasX5IfRjAbVF4ZwQw8mwz8_v_by6AiM49J5EE5lzsuNeMzw8wzjlQXo_Q7kk6ZZ9Sikmu3vV1TX8pRpfSJdluJHMGBRaSNBJSMMGtBDHBI-EcLj0tebO/s320/Rebirth+30x40.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5503081902771712578" /></a><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3QIxSq6NkxmRJ7_HnHPcqo-QNCk3YVhDOJePFLn3YVlL5dzxQZVvzeKrG0zKk6uUG1xdEaqz-DYIINGwMT6ZToTB3Rchrs3Sj0AdLVGdnBjCjhkDoctuxoTqkzx3tdyr8g02Gyfv9_cHy/s1600/Pigeon+16x20.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 256px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3QIxSq6NkxmRJ7_HnHPcqo-QNCk3YVhDOJePFLn3YVlL5dzxQZVvzeKrG0zKk6uUG1xdEaqz-DYIINGwMT6ZToTB3Rchrs3Sj0AdLVGdnBjCjhkDoctuxoTqkzx3tdyr8g02Gyfv9_cHy/s320/Pigeon+16x20.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5503085377743731154" /></a><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjv7JZFR5b-mE8JF6pYhsr-fN2DUeZGDc0o1aw1sMwFl6yf-T7HkOeZ5SSHLxSNFbw_A-s2HWnXJd77rNuwirC82CC7kZb7xu2yOoXAzwWBvwDyvl4nZU2PT_FtR4ugMkk0hCDWqkoDvLIM/s1600/Untitled+30x40.jpg"><img style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 320px; height: 238px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjv7JZFR5b-mE8JF6pYhsr-fN2DUeZGDc0o1aw1sMwFl6yf-T7HkOeZ5SSHLxSNFbw_A-s2HWnXJd77rNuwirC82CC7kZb7xu2yOoXAzwWBvwDyvl4nZU2PT_FtR4ugMkk0hCDWqkoDvLIM/s320/Untitled+30x40.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5503084168198403970" /></a>Karl Slocumhttp://www.blogger.com/profile/13671641427259974902noreply@blogger.comtag:blogger.com,1999:blog-3050648620085776405.post-14246471820241895462010-08-03T19:17:00.001-07:002010-08-03T21:14:47.877-07:00Chris Callahan 3rd Solo Show on 3rd St.<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgq4sdJqnUqUCqa3zc6iVRczlN6gAB-6mEJ5MJ_GcDmriFHP3xrRe40X3sFvYLV6DJNc65v8BIosIk0RKkzr1WBcdJSECy_dBydNbiDUOsgjyyggKedMhPAdxNvKySjXU3A_SUhl6VyQsyl/s1600/Bather+By+the+Creek,48x60,+Acrylic+Mixed+Media.jpg"><img style="MARGIN: 0px 0px 10px 10px; WIDTH: 242px; FLOAT: right; HEIGHT: 320px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5501373283285437010" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgq4sdJqnUqUCqa3zc6iVRczlN6gAB-6mEJ5MJ_GcDmriFHP3xrRe40X3sFvYLV6DJNc65v8BIosIk0RKkzr1WBcdJSECy_dBydNbiDUOsgjyyggKedMhPAdxNvKySjXU3A_SUhl6VyQsyl/s320/Bather+By+the+Creek,48x60,+Acrylic+Mixed+Media.jpg" /></a><br />For Immediate Release<br />Contact: Karl Slocum<br />267 455 0279<br />karl@knappgallery.com<br /><br />The Knapp Gallery Presents<br />Chris Callahan in <em><strong>Below See Level</strong></em>.<br /><br />Exhibition Dates: Aug 6th – Aug 29th, 2010<br />First Friday hours: Aug 6th from 6:00 – 9:30 pm<br />Artist Reception; Sat. Aug 7th, 2010 6 pm – 9:30 pm<br /><br />(Philadelphia) – The Knapp Gallery continues its tradition of First Friday openings and welcomes back Christopher Callahan in his current body of paintings Below See Level. Callahan, a Narberth, PA resident returns for his third solo exhibition with the Knapp Gallery.<br /><br />Enjoying a unique history with the Barnes Foundation, Callahan is privileged to have handled the masterpieces making up what many consider the world’s foremost French post impressionist collection housed in Philadelphia’s Barnes Foundation. Callahan’s unique opportunity with its historical influences has flavored a recipe that is decisively Callahan.<br /><br />Reviewed for his last solo show by Victoria Skelly in the Broad Street Review<br />http://www.broadstreetreview.com/index.php/main/article/christopher_callahans_and_the_barnes_legacy , Callahan continues to gain attention for his unique adaptation to Barnesian teachings: “Callahan possesses the focus of a true artist— what I would call the quintessential Barnes Foundation insider. Through years of attending classes, working with Barnes’s acolyte Violette de Mazia, and ultimately teaching in the Barnes docent program himself, Callahan absorbed the Barnes principles so that now he applies them subconsciously to his unique painting style.”<br /><br />A self-taught “outsider” artist, Callahan creates imagery from an authentic inner discipline. Relying on giftedness and innate yearnings, Callahan’s vignettes depict slices of obscure reality; spiritual glimpses gleaned at a glance. There is an ensuing visual and colloquial language.<br /><br />Callahan is about color, composition and complexity. His joyful and bright palette belies an intense, contemplative and sometimes dark persona. Callahan presents complex faire through simple marks, shapes and iconic imagery. Composition is uniquely gestalt. Simplicity of elements supports complex makeup of an organism as a whole. Overlaying abstraction with form and figure, a similar effect to overlaying transparencies, the observant viewer can detect a melding of genres. With keen sensitivity, Chris develops a definitive rhythm through this body of paintings. Below See level is heady, sophisticated and challenging like Callahan.Karl Slocumhttp://www.blogger.com/profile/13671641427259974902noreply@blogger.comtag:blogger.com,1999:blog-3050648620085776405.post-6814670264971767472010-07-14T11:57:00.000-07:002010-07-14T12:44:06.220-07:00Got shoes? "Vote with your Feet."<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFsdxFg2ME0zz4uBGrYj1slucTRjPNNRYj_uv7OR2mjp4o5L8HVu2j9uPnoUv6Ih_VNK5Qy5yrU22LLzOYvlnhDTUaZC95x6VFqiq4C0nNboe8zp1HUpNh_VbiaHxC9jysmSQHt3loK7Mh/s1600/shoes4.jpg"><img style="MARGIN: 0px 0px 10px 10px; WIDTH: 131px; FLOAT: right; HEIGHT: 320px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5493839648045575906" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFsdxFg2ME0zz4uBGrYj1slucTRjPNNRYj_uv7OR2mjp4o5L8HVu2j9uPnoUv6Ih_VNK5Qy5yrU22LLzOYvlnhDTUaZC95x6VFqiq4C0nNboe8zp1HUpNh_VbiaHxC9jysmSQHt3loK7Mh/s320/shoes4.jpg" /></a><br />Give’em shoes and they’ll walk out on you. They did and we walked.<br /><br />Invited to the boss’s house to share in a British celebration of the 4th of July, I walked away with a redefined perspective of celebrating our American Independence Day. Americans celebrate their independence from the Brits. Conversely, the Brits celebrate their getting rid of us.<br /><br />Nearly fifty-one years old, ignorant of their divergent paradigm, I was caught off guard by this revelation; there are alternative perspectives to our individual realities. I’ll be honest, self indulgent as I am, the power of this truth was very difficult to appropriate. The blinding light of subjectivity steals away our clarity; our way of doing things is always the best way. Consequently, we clash head on with opposing belief systems; ergo the existence of competition with the victor’s beliefs prevailing over the oppositions.<br /><br />As Colonists, we fought for our belief in freedom; mother England was reaping where she had not sewn. Forced fed our belief system and taxed excessively, like beasts of burden we lived subject to the dictates of o<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJDIRtXqKK939JaNyKEzD7DCcCVYXI7Md2M7DZkBF2JR1UeVjDVO5F4mn4rnQ4J62ptusQfNB9W5uxoagnph6bTjUPUUATH2NhUb83J83wAWhKsB0ybYXrTww5O_56tSjIwxbfCVioDZuG/s1600/shoes1.JPG"><img style="MARGIN: 0px 10px 10px 0px; WIDTH: 240px; FLOAT: left; HEIGHT: 320px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5493842102614001506" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJDIRtXqKK939JaNyKEzD7DCcCVYXI7Md2M7DZkBF2JR1UeVjDVO5F4mn4rnQ4J62ptusQfNB9W5uxoagnph6bTjUPUUATH2NhUb83J83wAWhKsB0ybYXrTww5O_56tSjIwxbfCVioDZuG/s320/shoes1.JPG" /></a>ur absentee landlord. In the end, we kicked against the oppression and those from our homeland succumbed to our blows. Though, freedom was not without its costs; shed blood the cost of our new found reality. Celebrating independence is also about commemorating the lives laid down for our fresh plate of perspective.<br /><br />Fresh perspective, very much like true freedom, is an elusive and expensive commodity. Reliant on the safety net of consensus and status quo, our nature is to gravitate towards the “accepted”. For in the realm of the “accepted” we establish our comfort level. Consequently, introducing new perspective is a daunting enterprise as new perspective threatens the perceived balance and harmony of status quo. Yet, that same “harmony” required we fill the King’s coffers until we said “No mas, no mas.”<br /><br />In the art world, paintings of our old world masters dictate the standards of acceptance. Like the dictates, dogma and taxation of our one-time absentee landlord, we are now subject to a different taxation, the “taxation” imposed by painters of yester year, the “dead guys,” as Barclay Knapp says. This taxation says an artist must first die before they are considered a great painter and their paintings worth “real” money. The Knappian vision is contrary to this. Barclay Knapp is an advocate and proponent of artists making the money while they are still “above” ground. Barclay’s keen appreciation for the value of art and its role in our everyday live typifies the daily faire of “fresh” perspective served here at Knapp:<br /><br />"<strong><em>Expanding the definition of “art” to include its myriad forms, it’s easy to claim that all human beings have a visceral “love” for art and its beauty. Art touches and us all in some way – and all different ways, whether it is the form of our favorite music, favorite book (or comic book even!), our favorite movie, TV show, national monument, city hall building, or even that beloved rose bush in our garden. However, the art of experiencing painting and sculpture, unfortunately in my opinion, has been shaped and ultimately suppressed by an archaic “system” of distribution that all other of the art forms have broken through over time.<br /><br />In short, the arts of painting and sculpture have yet to be industrialized. Industrialization, through standardization, competition, marketing, digitization and finally personal device transformations, has put technology at our fingertips providing our eyes and ears with on-demand music, literature, movies, video, publishing, design, architecture, etc. etc.<br /><br />The aforementioned archaic system of controlling the distribution of painting and sculpture is the by-product of an “elitist club” composed of art museums, art critics and art galleries. Creating a restrictive current, a gauntlet, the “Old Boys” have wielded a controlling arm for the last 150 years or so. </em></strong><br /><br /><strong><em>"Imagine it thusly: there exist hundreds of thousands of painters and sculptors with impressive recognizable talent on one side of a river. Similarly, there are millions of consumers who would love to see, experience, and own the work that is on the other side. Separate, between these two “needy” co-dependents, sellers and consumers, sits that elitist club, acting like a tiny funnel to both sides; compradors. On the artist’s side, the club decrees unilaterally with absolute authority the standards of acceptability; artwork “fit for public consumption.”<br /><br />In describing the club’s effect on the consumer side, I need only to ask one question: on your journey to the other side, crossing through the gauntlet, have you ever felt intimidated by the process, was the experience good for you? Isn’t there weighing a heavy and governing “High brow” aesthetic about even going into an art museum or art gallery?<br /><br />Well, not at The Knapp Gallery. Our first goal is precisely the opposite of “The Club’s.” We seek only to bring artists and art lovers together as smoothly and possibly, expanding the scope, breadth and depth of both parties’ ability to reach each other. This is as it should be, for it is as it was many tens of thousands of years ago when humans lived in tribes and the artists among them painted onto their “living-room” cave walls where all members of the tribe could share and delight in their talents.<br /><br />In a way, the latter describes The Knapp Gallery’s second goal: we might not be able to change the whole wide world of art overnight, and obviously the “industrialization and personal digitization” of art and sculpture is taking its sweet time, so we’re going back to the future, so to speak.<br /><br />We are in effect taking on a “tribal” approach from our forbearers from those thousands of years ago, with “Philadelphia” as definition of our tribe. In effect, we’re here to allow Philadelphia artists to come paint on our walls, and sculpt in our room, and then to invite all Philadelphians to come share and delight with us in their talents.<br /><br />But please, don’t ask us for a double espresso latte with a lemon twist – whatever that is."</em></strong> <em>Barclay Knapp</em><br /><br />Exhibiting “world class” art at street level, just blocks away from the Philadelphia Art Museum in a town that acknowledges only mainstream status quo has its downside. Hard is the way gaining new voice - touting fresh perspective amidst the cacophony of tradition. While a significant contingency of Philadelphia painters are keen on our non-traditional proactive position, Philadelphia’s relentless ‘Old Guard’ remain staunch as arm chair dictates doling out their conventional diet of meat and potatoes. Ironically, in the “City of Independence,” known for its freedom-based nomenclature, we are stifled by a foreboding cloud of tradition.<br /><br />Presently, “Late Renoir” is showing at the Art Museum. Contrary to Knappian thinking, Philadelphia continues to rely on the dead guys to draw art-minded tourists into our city. The Philadelphia art community’s strength is not in its cohesiveness or even sense of community. It is sad to think that our reputation for having the county’s finest art schools is over shadowed by our world renowned Mural Arts Program. I am not bashing the Mural Arts Program. However, I am protesting a stranding that Philadelphia does not provide young artists a place to nurture their craft and carriers.<br /><br />I have awesome respect for Marian Locks and the Locks gallery, Philadelphia’s foremost non-museum based success story. Yet and still timing is everything. Marian Locks changed the landscape of the Philadelphia art scene, devoting her gallery completely for exhibiting contemporary artists, predominantly local and emerging talent. She too was a proponent of acknowledging the artist while they were still above ground. Now, as she is no longer with us, I am compelled to acknowledge and honor her”above-ground” breaking efforts.<br /><br />The fifth largest city in the US, Philadelphia has room enough at the table for another success story. Now is the time for resurgent collecting trends at street level and the local gallery. Despite current economic constraints, at street level we continue to exhibit our “A” game. As the roster of Philadelphia art galleries continue to dwindle, we are confronted with harsh decision making. Our reticence to embrace the living artist, the young living artist by helping to create growth opportunities is a stern indictment against “The Club.”<br /><br />Unique to the Philadelphia Art community/Art School paradigm is the overbearing issue of post graduation attrition. While it is easy to point the finger at what is wrong, I have little tolerance for those not willing to develop and bring solutions to the table. Philadelphia is like a college town. At the end of school they go home or away to create a life.<br /><br />The Knapp Gallery, since its inception 5 years ago, has been a champion for emerging talent including the student artist. We have sought to edify the Philadelphia Art Community of its ample student and emerging artist contingency as a significant and pivotal resource. Our efforts are but one cog in the larger gear needed to redirect current post graduation relocation trends. In providing Grad Students a place to show their art, we hope to entice Philadelphia’s student contingency to remain and develop their careers.<br /><br />Minimizing attrition requires a radical and non–traditional remedy. Partnering with local Philadelphia business as venues to showcase Philadelphia-created art is a proposed and extended vehicle of this City-Wide call to arms. We propose that business partners with the Knapp Gallery, throughout the city, exhibit original MFA grad-student art work instead of imported and printed artwork. Lacking a concerted investment in their emerging and student artists, Philadelphia imports more art and artists than it promotes from within. Consequently, we lose the content of our “reputation” as home of the Country’s finest art schools. This missing content accounts for a significant weakening in the infrastructure of our Arts and Culture mechanism. Promoting a City-wide “Grad” student juried Art Exhibition/Competition acknowledges our Grad Student contingency as the missing component.<br /><br />Key to Barclay Knapp’s notion of “industrialization” is the component of competition. Competition ensures longevity. We are creating such a playing field for our MFA combatants. In June 2011, the Knapp Gallery is will host a City-Wide MFA Graduate Student Juried Exhibition/Contest. With quarter final, semi final and final round eliminations, the overall winning finalist earns their first post graduation solo show at The Knapp Gallery, a year supply of art materials and a partial living stipend. This high profile competition will afford Philadelphia’s grad students a high visibility opportunity to jumpstart and promote their careers. There are limited entry requirements, entrants must be enrolled in a Philadelphia-based MFA program and be willing to remain in Philadelphia to paint their “victory” body of work.<br /><br />In promoting such an endeavor, The Knapp Gallery acknowledges Philadelphia’s potential as a World Class “Fine Arts” Community. Unfortunately, New York City’s Art Community, because of its concentration of artists, career opportunities and unlimited exhibition spaces, monopolizes the lion’s share of the Mid-Atlantic Region’s art related visibility and notoriety. Conversely, Philadelphia, obscured in New York’s shadow, is known only for its concentration of the country’s finest Art Schools. Our post graduation attrition leaves us remotely barren and devoid of its growth potential.<br /><br />Philadelphia trains artists but lacks a suitable continuing support network to retain its student artists. At issue here is the notion of sustainability. Sustainability requires sowing the seeds of growth and nurturing these seedlings through to harvest. The Knapp Gallery believes a highly visible and publicized MFA graduate student juried exhibition/contest will spotlight and quantify the value of the student artist, while simultaneously calling attention to Philadelphia as a viable resource for quality Contemporary Art. A desired by-product of this promotional event is the nurturing, cultivating and creating of a plausible demand for Philadelphia-created art work.<br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcHXSkcn3UrqfD5Eg8p5vxXvygU2feDPVaKQp2lcD6_NryCSgeSSPSnBmRZlCgw_NdPtpXCKPf5MkCcCqAFpdDfZOCgPCM2jrA7zZ8AWoSC2EOe-VytoDtU9xbMyKHiftgIr9UGbV7iYpo/s1600/lupus2.jpg"><img style="MARGIN: 0px 0px 10px 10px; WIDTH: 200px; FLOAT: right; HEIGHT: 164px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5493843529051020290" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcHXSkcn3UrqfD5Eg8p5vxXvygU2feDPVaKQp2lcD6_NryCSgeSSPSnBmRZlCgw_NdPtpXCKPf5MkCcCqAFpdDfZOCgPCM2jrA7zZ8AWoSC2EOe-VytoDtU9xbMyKHiftgIr9UGbV7iYpo/s200/lupus2.jpg" /></a><br />This is no small event or undertaking and requires a partner. In choosing to side with the LUPUS Foundation of America (LFA), Philadelphia Chapter, we aim to demonstrate the severity of the state of affairs. Our partnering with LFA demonstrates the seriousness of this indictment. My choice of LFA was not random. Nearly 30 years ago, I lost my mother to Lupus. As a child, helpless, I watched Lupus rip my mother apart. Witnessing the negative effects and impact of attrition on the Philadelphia art community, I am reminded of the sickened sense of hopelessness I experienced as a child. However, I am now in a position do something.<br /><br />Lupus is a life threatening disease desperately in need of a cure. The state of our foundering, failing and cumbersome Philadelphia Art Community sadly suffers a commensurate acknowledgement. “Finding a Cure” is a common, powerful and profound theme that tethers LFA to the Philadelphia Art Community. Presently, LFA-Philadelphia Chapter is considering our proposal of a LFA/MFA Black Tie Fundraiser. Moving forward, we will continue to solicit business partners and finalize details for the First Annual Lupus/Philadelphia Arts Fund Raiser, to be held in May 2011; Lupus awareness month next year.<br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeFkNil8rCFn3s7dexJz-ttBOJ7c5OKVLakwrjdcU5tySY380dwfY4mHL1a64K52Q53a-5m1U6Yiu8i2w73X62iTElOfjyNP2k84pfATkXQIP6C3c0d__dl7eOzARjcZ3UaYC2DUNxWOhu/s1600/Karl+lupus3.jpg"><img style="MARGIN: 0px 10px 10px 0px; WIDTH: 206px; FLOAT: left; HEIGHT: 320px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5493847119522887458" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeFkNil8rCFn3s7dexJz-ttBOJ7c5OKVLakwrjdcU5tySY380dwfY4mHL1a64K52Q53a-5m1U6Yiu8i2w73X62iTElOfjyNP2k84pfATkXQIP6C3c0d__dl7eOzARjcZ3UaYC2DUNxWOhu/s320/Karl+lupus3.jpg" /></a>Historically, the arts have been solicited to support non-profit fundraising. We are ever accustomed to the donated art “for auction” scenario. In this, there exists an inherent and profound acknowledgement of Art’s value. And while we need the help of our non-profit partner to bolster confidence of investors, our larger intent at the Knapp Gallery in partnering with the Lupus Foundation of America is not an attempt to piggyback this sentiment, rather to raise awareness of what we perceive as a life threatening issue to the Philadelphia Art Community. Like the life threatening affects of systemic Lupus, similar anemic symptoms plague the welfare and growth of Philadelphia’s Art Community infrastructure.<br /><br />We are taxed and torn at every turn. The times are tough. We grip the dollar bills tighter these days. Our investments are held closely, always under scrutiny. Maturity asks “what are the costs for storming foreign shores and taking new ground. Our history lesson for the day reminds us we cannot reap where we have not sewn. Here at Knapp we have counted the cost; our campaign for higher ground, creating a self sustaining Philadelphia Art Community, is paid with the commitment to exhibit only the highest level of authenticity. Marian Locks lived with such a conviction.<br /><br />Ultimately, like Marian Locks, we are committed to Philadelphia. Despite also exhibiting international renowned living artists, the majority of Locks’ reputation was built with local emerging talent. I too am a champion for the Philadelphia artist. “Made in Philadelphia,” has special meaning and value for me. This is where I live. This is my home. I look after my own. Unlike our absentee landlord and “The Club”, I won’t seek to generate excessive revenue by taxing the efforts of others. I am here to get the artist with the collector and vice versa. Our acknowledgement of “contemporary” artists is a also our commitment to a lifelong path, a way of living and bein<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCNwH5Gu6xkA3R00FXY0wY5nuZ76Z9J13eUJWbBEoJZIavG5Glqdn_W4es4V0MmGliizylhOBrPWzrcu04sfgtBF2GBK5Uw2mk0Msg-lSJ-3fynbVg9no1JtKQtZdsDr7P6O2nNqJDsblk/s1600/shoes3.JPG"></a>g; “no art – no life.” Under this <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSN_anQpxH8gqw8zK4JmNP8qA_wouEFUecC1WJMH_y2HlXqKjQLAZr9pKjkRyxN3NhNwLbU-CAIgygf-ME2it9InZ_eQZ5XG4hl6rEu7PEcThL4D31-YB9Y4Dez6W0a6EKi_edGuletF_D/s1600/shoes3.JPG"><img style="MARGIN: 0px 10px 10px 0px; WIDTH: 320px; FLOAT: left; HEIGHT: 240px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5493846050546722786" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSN_anQpxH8gqw8zK4JmNP8qA_wouEFUecC1WJMH_y2HlXqKjQLAZr9pKjkRyxN3NhNwLbU-CAIgygf-ME2it9InZ_eQZ5XG4hl6rEu7PEcThL4D31-YB9Y4Dez6W0a6EKi_edGuletF_D/s320/shoes3.JPG" /></a>banner I am willing to fight, if nothing more than by "voting with my feet."<br /><br />"Voting with your feet" is an expression used in my family that exemplifies the power of casting a vote. We cast our vote by our attendance or lack thereof. By “walking out” or banning an establishment by walking elsewhere, we are casting a vote. Raised by a militant, I am keenly aware of the power of the vote. The short of it, I am voting with my feet. I am voting for the living. My investments and efforts are in painters that are yet amongst the living; above ground.Karl Slocumhttp://www.blogger.com/profile/13671641427259974902noreply@blogger.comtag:blogger.com,1999:blog-3050648620085776405.post-3796236804057156082010-06-25T09:56:00.000-07:002010-06-26T07:40:39.007-07:00Nancy E. F. Halbert "Painted Diary - Figurative Expressions"<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKOT7daXepiTVjl84rHBVDIqfU_3jTzUVVxzUxNWvculZkbACIwl_B8s9JONZeNciFDjZD3OPO-2Y9EOroaPzlW5KXkR9KOxxwc2zEL4iPL_vrmu1tpNOZs68HZ5uZ5GhujJhg5k1oCbF8/s1600/Always+Turning,+Mixed+Media+-+70x18.jpeg"><img style="MARGIN: 0px 0px 10px 10px; WIDTH: 230px; FLOAT: right; HEIGHT: 320px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5486768900482350194" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKOT7daXepiTVjl84rHBVDIqfU_3jTzUVVxzUxNWvculZkbACIwl_B8s9JONZeNciFDjZD3OPO-2Y9EOroaPzlW5KXkR9KOxxwc2zEL4iPL_vrmu1tpNOZs68HZ5uZ5GhujJhg5k1oCbF8/s320/Always+Turning,+Mixed+Media+-+70x18.jpeg" /></a><br />Nancy E. F. Halbert is the consummate painter. Beyond that she is a painter’s painter; her vested interest evidenced by significant investment and sacrifice. She is consumed by her craft with no separation between her living and her working. In this, her life is seamless. Offering her the opportunity to show at Knapp, I requested that she “be all used up” after preparing for her first solo show here at our gallery. She has been diligent. Remarkably prolific, her work ethic is unparalleled. Nearly possessed, she creates out of need to see a vision fleshed out. Teacher, mom, wife, Director of The Muse Gallery, she is stretched to the limit. Yet and still, Nancy redefines commitment. Our lives mirrored against hers, she offers us no excuse for laziness. The truth be told, she makes the rest of us look as if we are travelling in reverse.<br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2zQ94WOCZjMQ_tfhUcVRFB4oP_luFh5Cofq5HASULRxD4l4JKkbZdrxyKkKwcpunnpI3OxMxJRy6mm-BM-NMQCfelI1ICFrJCtjeSJ09fxCMY38jbxYeHUxmhYEy6i3lnR1OQ4teaTbEX/s1600/In+the+Library,+Mixed+Media+-+40x30.jpg"><img style="MARGIN: 0px 10px 10px 0px; WIDTH: 232px; FLOAT: left; HEIGHT: 320px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5486767898298160242" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2zQ94WOCZjMQ_tfhUcVRFB4oP_luFh5Cofq5HASULRxD4l4JKkbZdrxyKkKwcpunnpI3OxMxJRy6mm-BM-NMQCfelI1ICFrJCtjeSJ09fxCMY38jbxYeHUxmhYEy6i3lnR1OQ4teaTbEX/s320/In+the+Library,+Mixed+Media+-+40x30.jpg" /></a>I demand a lot from my painters. Like a coach in the locker room at half time, I am always ready to give the “I want it all” speech. More than just words, I am sharing the Knappian work ethic. Everybody, including the boss, works long hard days on the Knapp team. While Barclay Knapp’s Art Gallery is not fast paced big business with multi-million dollar deals on the line like his other concerns, it is not uncommon to get the call from the boss at midnight or 1 a.m. in the morning. Yes, fundamentally, we are about winning. And beyond reason, we are willing to exhaust every available avenue towards realizing the goal of our vision. Nancy Halbert exemplifies the Knappian work ethic. The bar has been raised. Determining the Knapp’s future alongside the likes of Marian Locks Gallery, we must maintain the strictest measure of quality. But it is more than that. Any and all paintings that I have sold in the past must be validated or undergirded by what I sell <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaaatq8ICvl_ydoXXngIx75ijbOUhjL5tM17lsmGmaR7-sCZjU02EQCL7ADMiVumnEg6uJGRRg8Dl5nB43dTBs5MmETbxYH1_OPD3Kv62PKrKhl_x3vSTBsy1-q-hF1gcMvF5ldAccy1pI/s1600/In+the+Bedroom,++Mixed+Media+-+36x24.jpg"></a>today or tomorrow. I can only do this by continuing to find and promote the best a<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgr6yCOUbUQT4phkOesCoVw_qzBQeP10HqvmxXLeAZhWTZq5ayvS7UmqzZT02YoYUVwiEIs2gveXNvbbDGEWZKF_ypKx7Ot-1lDL6FfI9fQScZJU0gfmN4cYjKhjcvI52m59dhVAd8kQNy9/s1600/In+the+Library,+Mixed+Media+-+40x30.jpg"></a>rt avail<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0J-QITOu5_6ibKe5M618ZPEy3xEX5WKJ160MIi1hkgKwWNrwegc7ToJ0lyNfX04EENc2nc7jKvGmFC7wG2GLUdn2mKayByxwF7Rq_VEcZ9XRZL6_SSW6ppQdKw4NZZvTvlEXmtgDHc1pe/s1600/In+the+Bedroom,++Mixed+Media+-+36x24.jpg"><img style="MARGIN: 0px 0px 10px 10px; WIDTH: 218px; FLOAT: right; HEIGHT: 320px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5486766482508502514" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0J-QITOu5_6ibKe5M618ZPEy3xEX5WKJ160MIi1hkgKwWNrwegc7ToJ0lyNfX04EENc2nc7jKvGmFC7wG2GLUdn2mKayByxwF7Rq_VEcZ9XRZL6_SSW6ppQdKw4NZZvTvlEXmtgDHc1pe/s320/In+the+Bedroom,++Mixed+Media+-+36x24.jpg" /></a>able. There is only forward and higher. All indications from my short tenure here in Philadelphia say that we are making progress.<br /><br />The quality of painters now showing with the Knapp gallery evidences this forward progression. With our new reputation, painters that were not willing to show with us before are now seeking our representation. I have a problem with this. It is easy to say “I’m in” after the risk has been sifted out. There is no character in this. Interestingly, what I considered best quality 15 months ago does not meet the bar now. Our rejection percentage is near 92%. Our 2011 calendar is complete and demonstrates our “World Class” Status.” Setting a new precedent, we are in the process of releasing our 2011 calendar on the Knapp Gallery website. Further, the website will soon undergo significant reworking. Desiring a simple art driven <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkR9ejhyphenhyphenhyp1d4HzhjSbyLVhFLZE333FYDwIuXMfknqVICqMTe0VGjfksWEkyeHP_K7TeOchqO8S62DWa8phB7SeGTXRVcLovQTyrm_GWOWxBEulwBQ3iQc452_EMQAdm8V6DkXXu1wNOb/s1600/Homeward+Bound+,+Mixed+Media+-+48x36.jpeg"><img style="MARGIN: 0px 10px 10px 0px; WIDTH: 200px; FLOAT: left; HEIGHT: 320px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5486772332549665378" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkR9ejhyphenhyphenhyp1d4HzhjSbyLVhFLZE333FYDwIuXMfknqVICqMTe0VGjfksWEkyeHP_K7TeOchqO8S62DWa8phB7SeGTXRVcLovQTyrm_GWOWxBEulwBQ3iQc452_EMQAdm8V6DkXXu1wNOb/s320/Homeward+Bound+,+Mixed+Media+-+48x36.jpeg" /></a>presentation, we are investigating new approaches to offering a high quality viewing experience.<br /><br />Just this past week, I was in Miami and Ft. Lauderdale Florida looking at their Art Scene as they begin to prepare for December and Art Basel/Miami. Given a whirlwind tour by a local gallerist, I was afforded an inside perspective typically unseen by the lay tourist and out-of-state collector. I saw my May 2011 painter, Al Razza, hanging alongside early Damien Hirsts, Boteros, Lichtensteins, Chagalls, Picassos, Miros, and Warhols at Gallery Art www.gallart.com , a Miami based wholesaler. More importantly, I saw local and imported painters showing at the retail local gallery level; the prevailing art that supports the Florida Art economy. Miami’s high dollar and slick Art Market is dramatically different than our seemingly parochial<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcP1hmik2td20ir-P-g2IeeeY0yIZ7TZZge2xH1Zk4V3xaajZfp4WLiJUhfQJdz2q29TDzj5OSL_IsRlJTQdsPUGNTZAWFvp8FvIlkfdxIYEGpRfSNDNPkGLgcAZGzHCQTDV8qgOU2nzgn/s1600/Halbert_Can't_Sleepmixedmedia,30x30%5B1%5D.jpeg"><img style="MARGIN: 0px 0px 10px 10px; WIDTH: 240px; FLOAT: right; HEIGHT: 245px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5486773548912508546" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcP1hmik2td20ir-P-g2IeeeY0yIZ7TZZge2xH1Zk4V3xaajZfp4WLiJUhfQJdz2q29TDzj5OSL_IsRlJTQdsPUGNTZAWFvp8FvIlkfdxIYEGpRfSNDNPkGLgcAZGzHCQTDV8qgOU2nzgn/s320/Halbert_Can't_Sleepmixedmedia,30x30%5B1%5D.jpeg" /></a> art community. Confidently, I am able to say that the quality of Knapp Gallery Art holds up not only here in Philadelphia, but also down in Florida.<br /><br />While my trip to Florida was multifaceted, it was important for me to see how we as the Knapp Gallery held up against other prominent street level retail Galleries. I am excited to report that our Knappian vision, though still in its infancy, holds its own both <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidPPWQKFdVKcEoAMuVMhVaS85dUukEvhGnnp33G9Ogs48VWhIoUUe1AK8miY6sHKtJ_pGXWFi_nqBOkuGVuLzzy_Iyc9bicY2yfwsAIdCxFizHE425sYBtsPcmI-a_HWt6YLBh2vSltVgs/s1600/Bathing+the+Cat,+Mixed+Media+-+36x24.jpeg"><img style="MARGIN: 0px 10px 10px 0px; WIDTH: 159px; FLOAT: left; HEIGHT: 240px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5486773993848367282" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidPPWQKFdVKcEoAMuVMhVaS85dUukEvhGnnp33G9Ogs48VWhIoUUe1AK8miY6sHKtJ_pGXWFi_nqBOkuGVuLzzy_Iyc9bicY2yfwsAIdCxFizHE425sYBtsPcmI-a_HWt6YLBh2vSltVgs/s320/Bathing+the+Cat,+Mixed+Media+-+36x24.jpeg" /></a>here in the Mid Atlantic Region stretching southward through to the Florida Keys.<br /><br />Nancy, in her strength of form, bold line, color and composition, has continued to offer us the movement of profound narrative, narrative that reflects a unique intimacy of a woman revealing herself. Sensual and provocative, Nancy’s life as a choreographer allows for her knowledgeable perspective of movement and form to prevail. The paintings, very much gestalt in their elements, collectively portray a well balanced waltz. More than cognitive, Nancy’s work is intuitive. Her line, color and composition evidence an easiness which affirms my declaration of intuition. The work demonstrates completeness though<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvBOjke2Q2XsowUbIyitS-ZJDduOIm7iQyFx4inQ_xOxh4dJH0r90bnhB37hpHkwB6FpBijs7PJMf__bSXT7Vq5gwxg6lbLaS87s0PPRPaPTWa-Cf4Oi7mRl7MGMblJLwMfEhCw5a6SZY3/s1600/Goddesses+1+%26+2,++Mixed+Media+-+18x12+each.jpeg"><img style="MARGIN: 0px 0px 10px 10px; WIDTH: 278px; FLOAT: right; HEIGHT: 240px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5486775183418622514" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvBOjke2Q2XsowUbIyitS-ZJDduOIm7iQyFx4inQ_xOxh4dJH0r90bnhB37hpHkwB6FpBijs7PJMf__bSXT7Vq5gwxg6lbLaS87s0PPRPaPTWa-Cf4Oi7mRl7MGMblJLwMfEhCw5a6SZY3/s320/Goddesses+1+%26+2,++Mixed+Media+-+18x12+each.jpeg" /></a> is not “labored” over. Nancy’s authoritative sense of freedom washes over us with the truth of her authenticity. While there is complexity in the layering of her composition and tone, the directness of her message allows for an easy relating of imagery.<br /><br />Two months ago, I made studio visit to check on her progress. For the rest of my day, after my 11 a.m. arrival, I was overwhelmed by the sense one encounters when they’ve just met an extraordinary individual, in this case a woman a painted woman. Nancy’s deft poignancy, like a key in a lock, with intimacy unveils the lost secrets of today’s woman. Not as voyeur but rather seemingly a factual account and encounter, we are given a peek through a one way window into the unknown, the forgotten. In the end, we are affected; our senses recalibrated.Karl Slocumhttp://www.blogger.com/profile/13671641427259974902noreply@blogger.comtag:blogger.com,1999:blog-3050648620085776405.post-79196901439477294142010-05-25T10:00:00.000-07:002010-05-25T11:19:54.701-07:00June 2010 - Community Month<div><br /><div><div><div>Back in 2009, when I was introduced to City Year – Greater Philadelphia <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgk_LcwqNkoQmvn7BkbD7DURsGvHY-ox-EXJRwFKnQnN9PCouw3Yqp6rGbc1mnG_ObEs3Se-5sWvhViyjWVRBClolUQLX9j5BoNHuMSbMU5HSbrMGOg3ljAfGlZ_JnqeKYaFGwHaXAkxY_Y/s1600/Color_CY_logo.jpg"><img style="MARGIN: 0px 0px 10px 10px; WIDTH: 200px; FLOAT: right; HEIGHT: 173px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5475269929329545650" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgk_LcwqNkoQmvn7BkbD7DURsGvHY-ox-EXJRwFKnQnN9PCouw3Yqp6rGbc1mnG_ObEs3Se-5sWvhViyjWVRBClolUQLX9j5BoNHuMSbMU5HSbrMGOg3ljAfGlZ_JnqeKYaFGwHaXAkxY_Y/s200/Color_CY_logo.jpg" /></a><a href="http://www.cityyear.org/philadelphia.aspx">http://www.cityyear.org/philadelphia.aspx</a>, it became remarkably clear The Knapp Gallery was being called to redefine status quo; our actions must overtake the spoken and written word. True commitment requires we ultimately ante up, invest and pay into the machines that define our existence. At street level, the local gallery’s growth and continuance is reliant upon the availability of quality marketable art.<br /><br />City Year is an International Organization whose initiatives are tailored to meet community and school district needs. City Year corps members as tutors, mentors and role models, help children stay in school and on track, and transform schools and communities across the United States, as well as through international affiliates in Johannesburg, South Africa and London, England. So what's that got to do with art?<br /><br />Approached by City Year about giving some Philadelphia high school students an art exhibition, I quickly saw the tremendous value and potential return on an inexpensive investment. Unbelievable as it may sound, many urban students have never been afforded the opportunity to investigate their latent artistic gifts. Believing an auspicious exhibition venue like The Knapp Gallery would bolster the artistic dreams of our next urban artistic generation, I Committed our walls to a two week show of “not for Sale” Teen-Age art. Sure, I have to worry about the rent, but I also have to concern myself with posterity as well.<br /><br />I have to be honest; currently the largest part of my job is lobbying for the developing of Philadelphia based career opportunities for our City’s MFA graduates. With limited opportunities to develop and grow their craft, we lose the majority our MFA graduates to attrition. Consequently, I am keenly sensitive and aware of the need to contribute to Philadelphia Art Community growth, participating in significant results-oriented activities to create exhibition opportunities. And while our task is a daunting attempt to turn a huge cumbersome and foundering ship with a remarkably small rudder, it is clear that every effort to promote growth in Philadelphia Arts is a worthwhile endeavor and investment of time and resources. A deterrent for many is the intangibility of long term investments. Short term goals of "paying the rent" usually interfere with long term goal planning.<br /><br />Setting realistic “city-wide collective long term goals” requires resolve and commitment that most local street level galleries are not in a position to concentrate on. Fortunately, Knapp Gallery owners Barclay and Rebecca Knapp have a proactive vision for Philadelphia that is more about the long term than the quick immediate returns form simply “selling” art and meeting the bills. Believing in the Parisian Salon economy, made infamous by the likes of Gertrude Stein and Cohn sisters (Claribel and Etta), Barclay and Rebecca have, by way of collecting Philadelphia Art and issuing living stipends to Philadelphia painters, invested considerable resources into the Philadelphia Art Community. Using the Knapp Gallery to promote Philadelphia Art, the Knapp’s have used the Gallery as a vehicle to build and promote their personal collection. Their investment into Philadelphia Artists is unrivaled.<br /><br />Knapp concerns for the growth of Philadelphia Arts undergirds my "charge for service" as Director here. “Get it done. Take risks. When things work, fine, continue with them. When things don’t, no harm - no foul, try something else. Be aggressive.” were Barclay’s words when he turned me loose in Philadelphia. As such, my willingness to partner with City Year was met with applause by the bosses. Every little bit helps. Besides, without a divine crystal ball, we never know the impact of our decisions. My hope is that Our High School Art exhibition will demonstrate the Knapp Gallery’s commitment to the advancement of the Philadelphia Art Community. Beyond this, a desired by-product of this effort is to also engender confidence in prospective patrons of our altruistic-based missionary vision. We will do whatever it takes to exhibit a standard of world class art, even if that requires our paying into the machine long before it creates product fit for our walls.<br /><br />…………………..<br /><br />The remainder of June, we are offering our walls to a few unknowns; two local tale<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIDVupe8r32BV9TKFJnw0vidk-4AVkDUOjFpZ_H6TS073w3BCFX8NYNpbWG02hoa3oPnAY8l8Wwp14EMcOsVJ8PHlraQYESvkcNofLSUuDyB1hJF4-dLSxOQtNVOiQg3ISTnWJB4xDsLJ4/s1600/Unseen+Beauty.jpg"><img style="MARGIN: 0px 0px 10px 10px; WIDTH: 165px; FLOAT: right; HEIGHT: 320px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5475267892897580194" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIDVupe8r32BV9TKFJnw0vidk-4AVkDUOjFpZ_H6TS073w3BCFX8NYNpbWG02hoa3oPnAY8l8Wwp14EMcOsVJ8PHlraQYESvkcNofLSUuDyB1hJF4-dLSxOQtNVOiQg3ISTnWJB4xDsLJ4/s320/Unseen+Beauty.jpg" /></a>nts, one not having yet made it into the exhibition ring the other excluded from mainstream exhibitions by negating circumstances.<br /><br />Ikru Salmon, near Homeless, peanut butter a dietary staple, carves, paints, writes<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmYeHLtRnuYRJCl280jGpCzrWIdZRalIWqosYWC9uurO_UXApYjHxaWr9mKh2SllfY20X5CB8PTAn6g7nmgjIV0HMwBZThm0hAfHaROX1IGlkdbX6e-AohTYH9mrhrox4TuRlul-qM9_it/s1600/Unseen+Beauty.jpg"></a> and performs poetry. Preferring the abstract, drawn to the convex and concave nature of shapes, Ikru survives through his art. Committed to his craft, determined to overcome the confines of his poverty, identifying his art with the homeless, believing his creativity a gift direct from God the Creator, Ikru sells his art on the street for his daily bread. <em>Unseen <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHNJ71gRgzeA5EJmpVqrOJJr_zJY_apiU-r1LBDOLvtg1TDgAbny-L-HS0nxs0A4_5D0pE0q0j0tRzpqCvCvhp4FbSSLTNyc65TD3SfJs_Ye86TYApkhsplD6z7oZo8ijynQuipkCXT1H7/s1600/Lucid+Dreams.JPG"></a>Beauty</em>, a relief wood carving (35” x 19”), made from a gifted block of wood, evidences the beauty Ikru sees often missed by others. “I see the beauty that others don’t. Many of the homeless do.”<br /><br />Bonnie Shanas - “As a student of psychology and enthusiast of human nature, I<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYpb26MzlqjAQ5z4cwFtEwVtZQWwBW5-krAdQuKZTuU2ZgYsU2jGRvyGOVaFu5PWhs9M1HDbVhX-i5SSXM0WENQlSgVj__Jm0VhtTzLuAhii72bAGSStBPcpqSKOiEWjNpFYC9aOlKiGaw/s1600/Lucid+Dreams.JPG"><img style="MARGIN: 0px 10px 10px 0px; WIDTH: 188px; FLOAT: left; HEIGHT: 200px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5475269445130805906" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYpb26MzlqjAQ5z4cwFtEwVtZQWwBW5-krAdQuKZTuU2ZgYsU2jGRvyGOVaFu5PWhs9M1HDbVhX-i5SSXM0WENQlSgVj__Jm0VhtTzLuAhii72bAGSStBPcpqSKOiEWjNpFYC9aOlKiGaw/s200/Lucid+Dreams.JPG" /></a> have always been intrigued by underlying allusions and the universal body language. The genuine truth expressed through the subtlety of the unspoken gesture is my inspiration for sculpture of the human form.<br /><br />Through these images emerging from a cloth of wire, I strive to capture and share these intimate yet universal expressions. The unimposing transparency of the material is intended to offer a moment or a memory, which each observer can make his/her own.” <em>Lucid Dreams </em>28” x 33 ½”<br /><br />My next blog entry will give the full stories of Ikru and Bonnie. </div></div></div></div>Karl Slocumhttp://www.blogger.com/profile/13671641427259974902noreply@blogger.comtag:blogger.com,1999:blog-3050648620085776405.post-86799918918161413132010-04-20T17:21:00.000-07:002010-04-20T18:11:12.005-07:00More on Ober-Rae Starr Livingstone - beyond the nuts and boltsHow do we really account for and reconcile the investment one is willing to make in their commitment as an artist? To be honest, this conundrum is outside rational<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDGJ2R7dga2-SW76QsNTLzTCBmiNhQR62owR7QUdp0qwBC_ZYV1VYULcqeFUfLUp-fDS96Jy5D7OVC92kOXu8i4gM8qoEm_SzFAigISsQFmdR7ug_owuEyU1vTxwa0d6459iyJMvURp5ed/s1600/Dominion+48x48.jpg"><img style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 200px; height: 200px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDGJ2R7dga2-SW76QsNTLzTCBmiNhQR62owR7QUdp0qwBC_ZYV1VYULcqeFUfLUp-fDS96Jy5D7OVC92kOXu8i4gM8qoEm_SzFAigISsQFmdR7ug_owuEyU1vTxwa0d6459iyJMvURp5ed/s200/Dominion+48x48.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5462387379677476162" /></a> understanding. Certainly, we can discuss to ad nauseum what many artists deem the “necessity” to create. Don’t misunderstand me, I am not diminishing or downgrading this notion. Remember, I am a painter. Reality is that "living is expensive." Considering the costs, the staying alive, the anguish and loneliness associated in the creativity process, I’ve never been able to fully embrace this lofty and singular ideal of <em>necessity</em>. Amidst the darkness, uncertainty and cruel realities associated with <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEif_SSAcHjTagNkVT9n68QZuK8DlvF60yRVTcuCKY6QGRB_ZIbSm4jomUgCU5Xiby88GEgKV2PaplRrf0kB176yzt0sLAf7jVAlfarm08zlJkZwdb5UEdBxHt36KWthN7dg6ZwYXGtd-8kY/s1600/Grace+36+X+48.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 200px; height: 148px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEif_SSAcHjTagNkVT9n68QZuK8DlvF60yRVTcuCKY6QGRB_ZIbSm4jomUgCU5Xiby88GEgKV2PaplRrf0kB176yzt0sLAf7jVAlfarm08zlJkZwdb5UEdBxHt36KWthN7dg6ZwYXGtd-8kY/s200/Grace+36+X+48.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5462387776119017154" /></a>our craft, I have said myself, shouted at the top of my voice even, “Why am I doing this? This is crazy. I don’t get it!” <br /><br />Some paintings, for obvious reasons were created for specific purposes; political, historical, social protest, even religious. Hey, I understand the beauty of art, how it influences our lives and world; the value of its visual language. Don’t misunderstand me. I am not questioning the importance of paintings or<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4Fk6qSIj10QGV9TQ9OxCYf7QFClTNXAQ7qRAtVV5_L6AIsL9JYiCo_FX6hjhIM0xb1S3Ys6IxJ_QaU69GT3capAz4q808rB7QoPqYHkt5sP_Ox-afCZnXaAXOvSKIM0D1ZWFfZRoD64nz/s1600/Thinking+Pink+48x36.jpg"><img style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 148px; height: 200px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4Fk6qSIj10QGV9TQ9OxCYf7QFClTNXAQ7qRAtVV5_L6AIsL9JYiCo_FX6hjhIM0xb1S3Ys6IxJ_QaU69GT3capAz4q808rB7QoPqYHkt5sP_Ox-afCZnXaAXOvSKIM0D1ZWFfZRoD64nz/s200/Thinking+Pink+48x36.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5462388505277552594" /></a> painters. My attempts for some time have been to understand why and how our psyche endures the rigors and pain associated with the process. <br /><br />From where I’m sitting, as a way of making a living, it’s not a wise choice. Well, that is unless you are “called” into the profession. I can actually understand this perspective. Without this assurance, that your purpose, your very reason for living was to paint, despite what may come, the arduous and uphill journey seems ludicrous. Lured in only <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGrdqibIaZSF2ftmqXWBLSTCga6KUqvtXrNzcfs7viwsB83n2HQP2gWVT6EL5ECRKJF_Iau1ZHh9TSifmXXWBAwILKCDoAVBveKmVxXd4_B0LMpbvlwh1wiTx2DnjxqXnwmYXbm5mD5aau/s1600/Celebration+48x48.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 200px; height: 188px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGrdqibIaZSF2ftmqXWBLSTCga6KUqvtXrNzcfs7viwsB83n2HQP2gWVT6EL5ECRKJF_Iau1ZHh9TSifmXXWBAwILKCDoAVBveKmVxXd4_B0LMpbvlwh1wiTx2DnjxqXnwmYXbm5mD5aau/s200/Celebration+48x48.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5462388983310431954" /></a>by the illusive romance of the craft, one is destined to experience the toil of Camus’ “Myth of Sisyphus.” Oh, there are the gifted, but they paint because they can. <br /><br />Making art is not for part timers. It shows up in the results. The “Called” bring something extra to the table. There is a brilliance. Like Moses coming down from the mountain after his visit with God, scripture says his face shone with the glory of God. He had to veil his face for the brightness was too great. I understand painting as a calling. And a “calling” validates the notion of necessity. Like a leopard<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJu3f3HtseOYkQ_SOSPGhPVkeHaV0DdnQ50PUaV8kNzzAywZcTjMO_l0ErUrZU2qNDLnA8q-Xm-yan1mzwfUO-yuMCxU1uZsXYiF7SUZzQyj9Gxm1cRm6OUm6d5TjF2WhX-N4VMzfSJ60H/s1600/Feeling+the+Day+Begin+48+X+48.jpg"><img style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 199px; height: 200px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJu3f3HtseOYkQ_SOSPGhPVkeHaV0DdnQ50PUaV8kNzzAywZcTjMO_l0ErUrZU2qNDLnA8q-Xm-yan1mzwfUO-yuMCxU1uZsXYiF7SUZzQyj9Gxm1cRm6OUm6d5TjF2WhX-N4VMzfSJ60H/s200/Feeling+the+Day+Begin+48+X+48.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5462389412059205618" /></a><br /> can’t turn away from its spots, neither can the painter called to throw paint. That said, I understand the impetus behind Ober-Rae Starr Livingstone and his paintings. He is called. There is more, it is not quite that simple. <br /><br />Often, this notion of calling is applied to those thought of as painters of religious themes. If we label Ober-Rae’s paintings as religious paintings, we lessen the experience while interfacing with his images. There are no crosses, no Christ pinned to the missing crosses, no blood or witnesses to the crucifixion. Ober- Rae appeals to the higher court of our consciousness, he appeals to our essence, the essential element of our human existence. Yet, we are nothing and invalid <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBT8NlxMtaTKBqEeEWF3oj3OpBfMusWex1F96-8wPGdlUW_Ju3WAa0uHSlnBgXQCuqK71B1dl-BIrDFcnwTwxvE7uB3_a1NOKaqBHHUACO4E1dDljnhoRmVI4HR5NShuBs-3gPnso_sOSq/s1600/Our+Daily+Bread.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 200px; height: 199px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBT8NlxMtaTKBqEeEWF3oj3OpBfMusWex1F96-8wPGdlUW_Ju3WAa0uHSlnBgXQCuqK71B1dl-BIrDFcnwTwxvE7uB3_a1NOKaqBHHUACO4E1dDljnhoRmVI4HR5NShuBs-3gPnso_sOSq/s200/Our+Daily+Bread.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5462389919411497778" /></a><br />without the existence of the creation first. Order is critical. The creation is a provision from the Creator. Ober-Rae’s imagery devoid of form and figure exaggerates the very importance of humankind. Why else highlight a creation without a creature? <br /><br />Creating “high” art is for those seeking and searching for something greater than “Good Art.” This is not “Good Art.” He cares little for making good art. Ober-Rae’s commitment to the craft is grounded in a desire to share an insightful understanding; the Creator’s faithfulness and devotion to His Human Creation. The effectiveness of Ober-Rae’s calling, like that of a minister, requires he focus and point his efforts toward a specific and singular message. Looking back in the Old<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSF5erQ9xnIwgVMXYlcA_OwuIH90kC7Qabl0cW1S4Jl90bG7Yzan_VceEdW0h2hM7l6HxkdfkCS6QPJKmRxinQAvVl8Z4PYmWikil80T76ttCUGNQ1VMzLVP6Do2_FwjFSahzWMNjSKWpN/s1600/Travelling+Light+48X+48.jpg"><img style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 200px; height: 199px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSF5erQ9xnIwgVMXYlcA_OwuIH90kC7Qabl0cW1S4Jl90bG7Yzan_VceEdW0h2hM7l6HxkdfkCS6QPJKmRxinQAvVl8Z4PYmWikil80T76ttCUGNQ1VMzLVP6Do2_FwjFSahzWMNjSKWpN/s200/Travelling+Light+48X+48.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5462390376816923154" /></a> Testament on Moses, his singular message to Pharaoh was “let my people go.” Martin Luther King’s Civil Rights message of non-violence was “Let freedom ring.” Malcolm X declared it was “by any means necessary;” Ober-Rae, “The faithfulness of the Creator.”<br /><br />Hanging in the Gallery right now are works by Tom Brady, a Philadelphia painter. A recent guest said they are wonderful paintings, yet they all look the same. The translated version, the reality of her comment is that Brady’s work is definitively Brady; his heavy impasto texture like that of a fingerprint. When you see a Brady painting, you know it is his. Ober-Rae, like Brady, can be identified by his work. His pointed message is clear.<br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgt4PzoxulO9bDstXDdWJtCgksGYgf69kB-RTPqs0XbBLUmpB3iXlapr2gIPKW83W06pCWLob4fU8T8ZZ-9imXCfdcJPIbMCaq1I2jFaltZWpkoR2zAQIOL85BponLG_egh9zaKd-efJdzN/s1600/The+More+I+See+of+You+24x48.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 200px; height: 100px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgt4PzoxulO9bDstXDdWJtCgksGYgf69kB-RTPqs0XbBLUmpB3iXlapr2gIPKW83W06pCWLob4fU8T8ZZ-9imXCfdcJPIbMCaq1I2jFaltZWpkoR2zAQIOL85BponLG_egh9zaKd-efJdzN/s200/The+More+I+See+of+You+24x48.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5462391214223267890" /></a>Karl Slocumhttp://www.blogger.com/profile/13671641427259974902noreply@blogger.comtag:blogger.com,1999:blog-3050648620085776405.post-72318313105237636932010-04-20T08:40:00.000-07:002010-04-20T08:45:05.197-07:00Ober-Rae Starr LivingstonFor Immediate Release<br />Contact: Karl Slocum<br />609-402-5917<br />karl@knappgallery.com<br /><br />The Knapp Gallery Presents<br />Ober-Rae Starr Livingstone: <em>Places in Time</em>.<br /><br />Exhibition Dates: May 7th – May 31st, 2010<br />First Friday Gallery hours: May 7th from 6:00 – 10:00 pm<br />Opening Reception; May 6, 2010 6 pm – 9:30 pm<br /><br />(Philadelphia) – The Knapp Gallery continues its tradition of First Friday openings and welcomes Ober-Rae Starr Livingstone in his current body of paintings <em>Places in time</em>. Livingstone, a resident of Cincinnati, is currently represented by Galleries in Ohio, Kentucky and Tennessee. <br /><br />A self-taught painter, Livingstone incorporates elements of abstraction and impressionism. Beyond contemporary art nomenclature, Livingstone paints instinctively from his heart. An intuitive process rather than a cognitive experience, Ober-Rae endeavors to translate the language spoken by the Creation. Concentrating on Land and Sky-Scapes, Livingstone’s multi-dimensional paintings depict his awe at the “wonder of Creation.” <br /><br />Reliant upon the yearning of the viewer’s heart, desiring the perfection offered only in the creation, Livingstone stands in the gap as an oracle transcribing the history of eternity. These paintings fulfill a “calling.” Much more than earthbound images of an outstanding landscape, sunset or sunrise, Livingstone paints the heavenward expression of these brilliant experiences that are divinely imprinted on our hearts by the Creator’s hand. These are the images we see when we close our eyes and look inward.<br /><br />Ober-Rae is also a technician. Layer after layer; wash after wash, Livingstone labors bringing to life the resulting brilliance of his process. These paintings breathe with life. A Co-Creator of sorts, Ober-Rae’s gift of “inventing” light through color ultimately affords us healing. A visual salve, Ober-Rae’s images exist as a ministry. With a visual language they speak a heavenly language to the places in our lives long forgotten; even the dark painful places. Emanating perfect peace these paintings remind us of the Creator’s faithfulness down through the corridor of time. <br /><br />Livingstone’s paintings are included in private and corporate collections in the United States, Canada, Europe, and Africa.<br /><br />See Ober-Rae’s paintings at Knapp Gallery. www.knappgallery.com/artists-rae.phpKarl Slocumhttp://www.blogger.com/profile/13671641427259974902noreply@blogger.comtag:blogger.com,1999:blog-3050648620085776405.post-299355609718265382010-04-07T18:12:00.000-07:002010-04-08T08:51:55.769-07:00Tom Brady: Why is it Wonderful? An Art of Experiences<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgv95GN5AqlmM26FftZZZ3X0QfAayOZYH3hajqsi8PLabsoJD0D86XaUnyHr0RlV6rxXEtzeLVUNagFm3GkJvi0T7t2D3cC0nh_Vhdi5iXkPIjWGlzGTEJ5jYVAnsMLvN3IFu-YDG-RY441/s1600/After+Work+41x55.jpg"><img style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 200px; height: 151px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgv95GN5AqlmM26FftZZZ3X0QfAayOZYH3hajqsi8PLabsoJD0D86XaUnyHr0RlV6rxXEtzeLVUNagFm3GkJvi0T7t2D3cC0nh_Vhdi5iXkPIjWGlzGTEJ5jYVAnsMLvN3IFu-YDG-RY441/s200/After+Work+41x55.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5457782645871787298" /></a><br />Exhibition Dates: April 2, 2010 - May 2, 2010<br />First Friday Gallery hours: March 5th from 6:00 – 10:00 pm<br />Opening Reception; April 10, 2010 6pm – 10 pm<br /><br /><br />Not much to write about Brady. Less is more. No mystery here. Besides, truth doesn’t require <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0gkbvJPJfVFAvgf5vIxU72V42lLgZ_ymqq-QvItJyZcEWwdfhpBIg4ayg6mhvNXCaNgQPcwr_VFnoMn4RD0o3We0pt1yqRUBwMb051sg3Dwfp2xmvt7u9N_9LVEcQep5UsCGePdAt_wvP/s1600/Old+Friends+36x48.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 200px; height: 150px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0gkbvJPJfVFAvgf5vIxU72V42lLgZ_ymqq-QvItJyZcEWwdfhpBIg4ayg6mhvNXCaNgQPcwr_VFnoMn4RD0o3We0pt1yqRUBwMb051sg3Dwfp2xmvt7u9N_9LVEcQep5UsCGePdAt_wvP/s200/Old+Friends+36x48.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5457783903676893938" /></a>explanation. Truth, you ask? What does Art have to do with truth? For the record, truth participates in everything. <br /><br />Tom Brady is the Knapp Gallery’s senior staffer. Here at the Knapp Gallery, we divide our calendar year by his show; pre and post Brady. Accordingly, Brady is our premier exhibition of the year. My use of the word premier has as much to do with who Brady is, as it does with what his work represents. However, these two independent truths play out in<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxLMZgQETgMkuhF17SRxXI4x5oKKxOQCxOdN-XErTuMZ9BttRQTdQgT5ZcBWMoSm_wRRii54ph4gN9Gd8oPQjrsMxxcp_zR158RZChSNobJwl2MkvLOAQhstIq7ee8Oqjge1F0pKJAZcs5/s1600/Husband+and+Wife+47.5x35.5.jpg"><img style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 148px; height: 200px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxLMZgQETgMkuhF17SRxXI4x5oKKxOQCxOdN-XErTuMZ9BttRQTdQgT5ZcBWMoSm_wRRii54ph4gN9Gd8oPQjrsMxxcp_zR158RZChSNobJwl2MkvLOAQhstIq7ee8Oqjge1F0pKJAZcs5/s200/Husband+and+Wife+47.5x35.5.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5457784387621583890" /></a> marked divergent results. In one regard, the quality of Tom Brady’s paintings makes this show easier to produce and promote. Conversely, who Tom Brady is makes for a more difficult setup. <br /><br />Truth: Tom Brady is the consummate professional. He knows what he wants and how he wants it. He should after all; he’s been honing his craft for nearly 37 years. Within this level of maturation, Tom has developed better than satisfactory communication skills; he will speak his mind. You don’t have to guess about what he is thinking. <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZz0TOqFNQvPRsXD6hCoG9rk8uk9Ipbs2uMuDl3Ynm20lSF6GvdpHWCf1mTQ27uH6rQ8SPfiB23Um1zpgfmv5lDRNwcPsfYc16If3qHcdtOIhFmUO8Wx3VMtS1EPkC98BjqJnQQlHH8eWa/s1600/Swat+Snack+Bar+II+36x48.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 200px; height: 150px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZz0TOqFNQvPRsXD6hCoG9rk8uk9Ipbs2uMuDl3Ynm20lSF6GvdpHWCf1mTQ27uH6rQ8SPfiB23Um1zpgfmv5lDRNwcPsfYc16If3qHcdtOIhFmUO8Wx3VMtS1EPkC98BjqJnQQlHH8eWa/s200/Swat+Snack+Bar+II+36x48.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5457785542400275154" /></a><br />Periodically, Tom will send an email to share an idea of promotion or an image, or a thought. I’ve deduced, this is Tom’s way of saying he desires conversation. Rarely are these conversations about his paintings. The bottom line is he doesn’t believe there is much to talk about his paintings. Tom desires one thing from a viewer, an emotional response.<br /><br />Truth: Tom’s paintings speak for themselves. <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMa8pZZAoHEVkVL_HRv9VHzhMcgHMJlNUUGo3FC4XcK7r692u0EwwUpM8s2QgHV5sBnf3VE9h4G-SaO0hoMx6Q1h9phU_ZyrAp8ggq1Sdp1JuxI27XQuImB59F4cvw5G2HbyZ8MrG6ccZm/s1600/Truck+for+Sale+36x48.jpg"><img style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 200px; height: 150px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMa8pZZAoHEVkVL_HRv9VHzhMcgHMJlNUUGo3FC4XcK7r692u0EwwUpM8s2QgHV5sBnf3VE9h4G-SaO0hoMx6Q1h9phU_ZyrAp8ggq1Sdp1JuxI27XQuImB59F4cvw5G2HbyZ8MrG6ccZm/s200/Truck+for+Sale+36x48.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5457786211558870210" /></a>They show well and photograph well. Bold color and line drive his complex compositions. Like the literary genre Hyperbole, massive textural gestures exaggerate Tom’s everyday common situational vignettes. Despite a slight sheen, a finish that Tom adores, the heavy texture of Tom’s aggressive paint shows well on the internet, show-cards and magazine <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijKbC6l7SxdhMMF3vToLmj_TyPMQCBe-sKyZl4TuSLYT8HU8dxbubkfxSYSBwOuPclhiAXtdTteefMIjPSyGsNr6yfUVlzO1RFy0EuhPpEHleI9oZRZ7AifOcoWv8m54AO2JMV6N4RNknA/s1600/Toward+Mr+Williams+Barn2+40+x+52.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 200px; height: 154px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijKbC6l7SxdhMMF3vToLmj_TyPMQCBe-sKyZl4TuSLYT8HU8dxbubkfxSYSBwOuPclhiAXtdTteefMIjPSyGsNr6yfUVlzO1RFy0EuhPpEHleI9oZRZ7AifOcoWv8m54AO2JMV6N4RNknA/s200/Toward+Mr+Williams+Barn2+40+x+52.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5457787076494895282" /></a><br />advertisements. WYSIWYG – “What you see is what you get.” Visually, Brady’s work translates remarkably well into common language. An Abstract- Constructionist by nature, Brady’s paintings hold to some stringent ideals of structure, form and representationalism. Beyond effect of converging and divergent line, defying shadow and light, Depth of field, a term normally associated with photography, is a tool deftly employed by Brady. Steeped in traditional impressionist roots, albeit with the aggressive hand of an expressionist, Brady’s interpretation declares, demands even a rethinking of acceptable genre-based nomenclature <br />.<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPYhi1Kh0vGys9OTpsMNRus4redmo0ZNpErF4nakG9v3ftvIRilQdZ7Qrfymv0oF5XHnlBSu-3kbJMNvTGiPBy1b3qdhEHcunRnL0D6ooCqEzPtp3g2GRXOdkmCZLVRKQWgRJbjLft7iDQ/s1600/School+Buses36x48.jpg"><img style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 200px; height: 150px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPYhi1Kh0vGys9OTpsMNRus4redmo0ZNpErF4nakG9v3ftvIRilQdZ7Qrfymv0oF5XHnlBSu-3kbJMNvTGiPBy1b3qdhEHcunRnL0D6ooCqEzPtp3g2GRXOdkmCZLVRKQWgRJbjLft7iDQ/s200/School+Buses36x48.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5457787908283019634" /></a><br />That was the easy stuff. The hard stuff is keeping step with the demands of his seniority. No need looking over his shoulder. Tom doesn’t need any help. No hand holding or studio visits. Simply put, Tom gets it done; he even comes ready with a gallery layout of his paintings and two copies of “his” release form. He delivers the work. I hang the work, with his help. Appropriate height is key to a satisfying experience with Tom’s work. Okay, now for the nuts and bolts. Here is what most folk don’t know about Tom’s work. Beginning with a street sketch, Tom squirrels away a gazillion sketches yearly. Looking back over his sketches he culls the first round returning in another 6 months for round two. Those that make the grade go into a different box.<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKTJhT64p0_CVnSSlAYnqqJSqT5o2OC20_VX_LnRBIdz99Xh27C4rQgbr45dW54Lp2QYx9D8cTlvEnoYZMN2PL0jzJXLiYPhQwjyZi7stxRd0ak-rKbBZTrfZiUwPd6MxYrr5vCq_CASdd/s1600/BV+Homes+35x47.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 200px; height: 146px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKTJhT64p0_CVnSSlAYnqqJSqT5o2OC20_VX_LnRBIdz99Xh27C4rQgbr45dW54Lp2QYx9D8cTlvEnoYZMN2PL0jzJXLiYPhQwjyZi7stxRd0ak-rKbBZTrfZiUwPd6MxYrr5vCq_CASdd/s200/BV+Homes+35x47.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5457788838500404514" /></a> Final round drafts make it to the “pastel” elimination round. For each of his final paintings, Tom completes a pastel version first. <br /><br />The pastel semi-final allows Tom advance notice of his palette. These studies are paramount to the resulting freedom and aggressive brushstroke. Each painting requires the use of 40 to 50 paintbrushes. With applying such heavy paint, overworking the paint runs to brown. Pre-knowledge of direction permits Tom to get in and get out keeping his colors pure; Tom’s whites are white. Clearly, he is a process-driven individual. This plays out exponentially in the marketing of his work. Congruently, Tom believes in a commensurate marketing process; each step building on the previous. Promotion wise, we do exceed our<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgWwuL2dL1ghGrwpnWfi_eIwPQzbzQeHlyIsNmcaX4IdHSrNw8fNevdZzq-LQoYdOfQ7uFZWQMxRGOmWE5shgJ9FC-hFaNzO0WgQ-7dBQ16qoaPPL-9gATsIK92nZH5S6RP2uVWZCdCe8U/s1600/By+the+Cemetary+42x57.jpg"><img style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 200px; height: 149px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgWwuL2dL1ghGrwpnWfi_eIwPQzbzQeHlyIsNmcaX4IdHSrNw8fNevdZzq-LQoYdOfQ7uFZWQMxRGOmWE5shgJ9FC-hFaNzO0WgQ-7dBQ16qoaPPL-9gATsIK92nZH5S6RP2uVWZCdCe8U/s200/By+the+Cemetary+42x57.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5457789238695573650" /></a> normal monthly resources and amp up our advertising to meet the demands of his seniority. The difficulty, the increase in work, is the education process that accommodates a Brady hanging.<br /><br />I was wrong; I do have something to say. I have to be careful here. I get comments from this blog. A latest comment warned me about my word usage, saying “Always keep your words soft and sweet, just in case you have to eat them.” Tom’s artwork is “World Class.” I’ll eat these words without salt or pepper. The sad part is the Philadelphia Art Community is unaware of the National Treasure<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQQ446LQCesUA48M3GE2qF3aVOgx6QsM6p6aYV2kQYT7aLQzdP_Y0CMTTM5SDQBSD_7v8x9wqZAjN64doRD37cGaumZJuITfyHvSab112SO-tN4L-l09qxXdP64ihyG4YJe8IjQUkmxptI/s1600/Man+with+Glasses+32x43.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 200px; height: 148px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQQ446LQCesUA48M3GE2qF3aVOgx6QsM6p6aYV2kQYT7aLQzdP_Y0CMTTM5SDQBSD_7v8x9wqZAjN64doRD37cGaumZJuITfyHvSab112SO-tN4L-l09qxXdP64ihyG4YJe8IjQUkmxptI/s200/Man+with+Glasses+32x43.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5457790038455062882" /></a> they have in Tom Brady. Unfortunately, they are waiting for him to die first; I am saddened by this. <br /><br />Okay, here is the inside dope, Tom chose Philadelphia over Boston and New York. To a degree, he is a visual historian of Philadelphian Culture, Architecture and Landscape. His commitment to Philadelphia aligns concomitantly with the commitment to his craft. Despite the significant list of Philadelphia-based Brady collectors, there is not a demonstrable Philadelphia consensus claiming Tom Brady as their own, as he has claimed Philadelphia his own. I should not have to “shop” Tom’s paintings in New York to quantify or validate their caliber. Interestingly, New York will come to Philadelphia for him. Sadly, the same was true for Jim Bloom, my March exhibition. New York loves his work also. <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_LuSWt0lwqc5NhuXtSMrrzNa-w1vvQBg6T52NzOHqG4JnuV5xoDFqkThd4o4r9T0UJHPsLQn9zX0PMxMjU5FJYtjsmsI2oSVxpczDbPhgMnCEea77R0SCDc3_Ro3TAwkH-oZokNyKwaFq/s1600/Up+Bordengrant+30x45+%2706.jpg"><img style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 200px; height: 135px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_LuSWt0lwqc5NhuXtSMrrzNa-w1vvQBg6T52NzOHqG4JnuV5xoDFqkThd4o4r9T0UJHPsLQn9zX0PMxMjU5FJYtjsmsI2oSVxpczDbPhgMnCEea77R0SCDc3_Ro3TAwkH-oZokNyKwaFq/s200/Up+Bordengrant+30x45+%2706.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5457790565206921090" /></a>I am not for a moment suggesting artistic “misfittedness”. However, I am saying, if Philadelphia is to claim stand alone “World Class Notoriety” for its Art Community, “buy-in” of its world-class artists is mandatory. <br /><br />Interestingly, most recently, I had a conversation with Rick Snyderman, of the Snyderman-Works Gallery. Rick Believes the climate is perfect for exponential growth in Philadelphia’s Arts and Culture community. That plays out with a significant political thrust and an understanding that an increase in Arts and Culture directly correlates to the growth of our tourism component of the City. <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoKixdqwCWf2BtFB7MAxZTfKggI6uZRYg1xOt7if67Rf6jnE0dVg6oxWp3F1bu178cD9Juqy455-FyouicNIB1WLQnyf-8sep3Yc3gwK5YYZFWElk-rQWmcrAWcwva04lC_QU8-gSnNuE7/s1600/Rutgers+Bridge+40x52.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 200px; height: 154px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoKixdqwCWf2BtFB7MAxZTfKggI6uZRYg1xOt7if67Rf6jnE0dVg6oxWp3F1bu178cD9Juqy455-FyouicNIB1WLQnyf-8sep3Yc3gwK5YYZFWElk-rQWmcrAWcwva04lC_QU8-gSnNuE7/s200/Rutgers+Bridge+40x52.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5457791053072355666" /></a>Forgive my long windedness. Bottom line is that until recently, Philadelphia may not have been ready to accommodate the likes of Tom Brady or Jim Bloom. However, now, the growth curve having flattened out we have agreement from a significant player at ground zero in the game that believes we have entered into a period of receptivity, despite the lingering economic factors. I’m concurring.Karl Slocumhttp://www.blogger.com/profile/13671641427259974902noreply@blogger.comtag:blogger.com,1999:blog-3050648620085776405.post-68366745709309030822010-02-26T18:25:00.000-08:002010-02-26T19:04:18.342-08:00Bloom at Knapp / Picasso at Art Museum<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguf_V-ZKBfAebszf1gu9vULifBL0nH_5xog5aU57SsNxPxpox22xz6wnVwIodjbicEKGGu2r1xBhqpSQ8Of7vJIWAbzQriNe4kwDcuIgrS38Fbe_DInyD4M9p3JjPHC_8aortrvs0WwVlE/s1600-h/Gwyneth+and+Stella,+2008,+48+x+72,+acrylic,+mm+on+canvas.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 200px; height: 133px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguf_V-ZKBfAebszf1gu9vULifBL0nH_5xog5aU57SsNxPxpox22xz6wnVwIodjbicEKGGu2r1xBhqpSQ8Of7vJIWAbzQriNe4kwDcuIgrS38Fbe_DInyD4M9p3JjPHC_8aortrvs0WwVlE/s200/Gwyneth+and+Stella,+2008,+48+x+72,+acrylic,+mm+on+canvas.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5442752308139805346" /></a><br />Okay, listen up. Let’s get serious for a moment. People’s lives are at stake. Presently, I am studying Brazilian Portuguese; a very difficult language to learn. I enjoy a challenge. I tend to be challenged at many fronts. Forgive me, I digress. An important ideal or notion to Brasileiros is verdade. Verdade.”<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinEyJXES4_DkC0Pes_Y7imC1scfI__K7k1yRc0VC85I_Ryr4TZWGfRM7kKRySsZlQUiD_Dm0-m2IQX-16mzwc8fJWEm3Z9aA3u6YEWZN7rFDFBnCAqsuAXpdI8dAYMHEgev_PlqVpnKekT/s1600-h/Untitled+Couple+in+Purple,+30+x+40,+acrylic,+mm+on+canvas.jpg"><img style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 146px; height: 200px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinEyJXES4_DkC0Pes_Y7imC1scfI__K7k1yRc0VC85I_Ryr4TZWGfRM7kKRySsZlQUiD_Dm0-m2IQX-16mzwc8fJWEm3Z9aA3u6YEWZN7rFDFBnCAqsuAXpdI8dAYMHEgev_PlqVpnKekT/s200/Untitled+Couple+in+Purple,+30+x+40,+acrylic,+mm+on+canvas.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5442746568182130402" /></a> is the Brazilian word for truth. So, for the moment, let’s talk verdade. For clarity, I will define truth/verdade as “that which cannot be denied<br /> <br />While art appreciation is subjective regarding individual taste, relativity requires a point of objectivity in defining what we label as “good” art. Somewhere along the line, somebody said “Hey! This Picasso guy is all that.” Nonetheless, reaching consensus may have taken considerable time. And while everyone may not like <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgW4kpib6hpG8khFQDpbOkaPWY51H0-8mHLiDmyFLeYCaWde3G-12ZRGMwVx15WXOxkUsFQcbPoO564fbW0xKxVyPpFT6WAxMuI8iOyfadVyROQjeXlIV8UtIi1t1kskqSfNu4jXYLeci8B/s1600-h/Feeling+Two+Ways+About+One,+2007,+24+x+24+acrylic,+mixed+media+on+wood.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 200px; height: 195px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgW4kpib6hpG8khFQDpbOkaPWY51H0-8mHLiDmyFLeYCaWde3G-12ZRGMwVx15WXOxkUsFQcbPoO564fbW0xKxVyPpFT6WAxMuI8iOyfadVyROQjeXlIV8UtIi1t1kskqSfNu4jXYLeci8B/s200/Feeling+Two+Ways+About+One,+2007,+24+x+24+acrylic,+mixed+media+on+wood.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5442747339966814738" /></a>Picasso’s style of painting, most would agree that his work denotes a standard by which others are judged. Ergo, our definition of good -<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzYRY9mD5xR_z0aMqJhO71zV6G_ZnOuzTyo8DOa_DOLskmoNXEyBLIByCIKqQqU4IUeDnwxyifg4e96DMTgjmpSOD9k_GB9GhxU1ZaIx53ALXQAVEdlAjbDAwhozfCIZyO1cl-M9toZvFP/s1600-h/Sphinx,+2010,+30+x+24,+acrylic,+mm+on+canvas.jpg"><img style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 158px; height: 200px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzYRY9mD5xR_z0aMqJhO71zV6G_ZnOuzTyo8DOa_DOLskmoNXEyBLIByCIKqQqU4IUeDnwxyifg4e96DMTgjmpSOD9k_GB9GhxU1ZaIx53ALXQAVEdlAjbDAwhozfCIZyO1cl-M9toZvFP/s200/Sphinx,+2010,+30+x+24,+acrylic,+mm+on+canvas.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5442748558931573090" /></a>“The standard by which others are judged.“ Clearly, for argument sake, our use of good is only meant to simplify not diminish the undisputable contribution made by Father Pablo. <br /><br />I find it serendipitous that Knapp is exhibiting Jim’s art concomitantly with The Picasso exhibit at the <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiA0G4LTkZbCj8mbTKPgGA3F3Sypn-b9tmpaX5cK-P9MAhhjnd926iUJzbBMS-c3T0SvRiz5hQTuPG44wwbz_hoezgzgo5cnERXOXWuM4ayTk4rij2shwyBltBfVypXszhl3suq52TsV0js/s1600-h/1987,+2009,+24+x+24,+acrylic+on+masonite.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 187px; height: 200px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiA0G4LTkZbCj8mbTKPgGA3F3Sypn-b9tmpaX5cK-P9MAhhjnd926iUJzbBMS-c3T0SvRiz5hQTuPG44wwbz_hoezgzgo5cnERXOXWuM4ayTk4rij2shwyBltBfVypXszhl3suq52TsV0js/s200/1987,+2009,+24+x+24,+acrylic+on+masonite.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5442749898985506322" /></a>Philadelphia Art Museum. Am I comparing Bloom to Picasso? Emphatically, no. However, I am saying there is an undeniable and undisputable quality in James Bloom’s art. This is good art; verdade. <br /><br />I have a short story for you. This will take only a moment. Back in the fall of ’09, Chris Callahan was up at Knapp. Matisse was hanging at the Pearlman Annex of The Philadelphia Art Museum. <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDCb6mxpOY6lX-eTYUMubFZ4KfMpzMWYXc0NSK2alJiAREkmspvVFM5nIuGklePNdijqJ_WtGnK0UhuXv-TX8s892xb4mafVRGkUnCtMm7hdHoGqV5B_EWkj5off4BbVK-iEhCD28svtKB/s1600-h/The+Babysitters+Boyfriend,+2007+60+x+72,+acrylic,+mm+on+canvas.jpg"><img style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 200px; height: 166px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDCb6mxpOY6lX-eTYUMubFZ4KfMpzMWYXc0NSK2alJiAREkmspvVFM5nIuGklePNdijqJ_WtGnK0UhuXv-TX8s892xb4mafVRGkUnCtMm7hdHoGqV5B_EWkj5off4BbVK-iEhCD28svtKB/s200/The+Babysitters+Boyfriend,+2007+60+x+72,+acrylic,+mm+on+canvas.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5442750805692163330" /></a>At the same time, one of my people was interested in Callahan’s “Tavern Scene.” She held off buying the Callahan until she went to the Annex, wanting to “see” if Matisse made her feel the same way. She did purchase Tavern Scene, acknowledging the definitive quality of Callahan’s color, line and light. Callahan held Matisse accountable. He became the measurable standard by which <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjv0gNwbgczfg41DZryUmsEN7D0jekXojOXo8Z-Q7a-_a9tM0QuE1klXOnCZyIJ7Ohhi0VPz2n3vvg0YFXk7nw8Y9p4i0YHWLdIl1By7wJtNpzOAtzCwBd-vOB2V9ew8xhONWV37CYrRbG_/s1600-h/Shrink+Shrank+Shrunk,+35+x+19,+acrylic+on+wood,.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 105px; height: 200px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjv0gNwbgczfg41DZryUmsEN7D0jekXojOXo8Z-Q7a-_a9tM0QuE1klXOnCZyIJ7Ohhi0VPz2n3vvg0YFXk7nw8Y9p4i0YHWLdIl1By7wJtNpzOAtzCwBd-vOB2V9ew8xhONWV37CYrRbG_/s200/Shrink+Shrank+Shrunk,+35+x+19,+acrylic+on+wood,.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5442745949912615218" /></a>good and acceptable was judged. It may be now that Picasso is the standard by which Bloom is measured. I am not afraid of the Art Museum, we only have different addresses. <br /><br />Back to Bloom. Aggressively manufactured, there is urgency about Bloom’s art. Intuitively it calls to transparency. No fancy words here. It’s just honest; verdade. You can’t turn away from the truth. Bloom delivers clarity<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvHI5QRpbY7bCpTI-kyc_rj5WpiUatz9vYYKiIUPMBMFIv6kGWMTDSnHxfVlzgwDUuJqzbXBwWsmQcdFd64FajHPDOkcJNzWDhQ4eKub7HSjyhPAfk4bH-D-oQCbNMbT8LdgIWVIvbjr31/s1600-h/The+Rushed+The+Rushed+Hushed+Compassion+of+Dr+Denang,+2007,+24+x+30+acrylic,+mm+on+canvas.jpg"><img style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 200px; height: 163px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvHI5QRpbY7bCpTI-kyc_rj5WpiUatz9vYYKiIUPMBMFIv6kGWMTDSnHxfVlzgwDUuJqzbXBwWsmQcdFd64FajHPDOkcJNzWDhQ4eKub7HSjyhPAfk4bH-D-oQCbNMbT8LdgIWVIvbjr31/s200/The+Rushed+The+Rushed+Hushed+Compassion+of+Dr+Denang,+2007,+24+x+30+acrylic,+mm+on+canvas.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5442752829454786242" /></a> with the bare essentials. It’s not dressed up. But we are not talking economics. I like that Jim is about getting the job done. Jim gets it done with few brushstrokes, possessing great skill in creating gesture with minimal line. But there is so much more. <br /><br />Today, I just want to set the work out there. I want you to see. I want you to enjoy.<br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0GBk-4HLcT36LbE57ivvRb69RY6OCWKd53vT1uYq-GTPntmtMFykAcZeYIO-oWEW8R4srp4QWyokHMDKngFA2H_XwKRq-5S6dbwTpTX00LeWm7-geCjbvSUM8uesDNesF4O3mLSJnBPGw/s1600-h/Blue+Chair,+48+x+48,+mixed+media+on+canvas.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 200px; height: 199px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0GBk-4HLcT36LbE57ivvRb69RY6OCWKd53vT1uYq-GTPntmtMFykAcZeYIO-oWEW8R4srp4QWyokHMDKngFA2H_XwKRq-5S6dbwTpTX00LeWm7-geCjbvSUM8uesDNesF4O3mLSJnBPGw/s200/Blue+Chair,+48+x+48,+mixed+media+on+canvas.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5442753463393268546" /></a><br /><br />I will get back with you in a bit.Karl Slocumhttp://www.blogger.com/profile/13671641427259974902noreply@blogger.com