The Director's Chair

James Dinerstein - The Deliverer

2012-01-09T19:53:00.000-08:00

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 alienesque orientations, Dinerstein’s renderings demand acknowledgement.

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 lunaresque 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 kairos; perfection meeting destiny.

Visible and tangible chunks of wisdom, symbology, 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.

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 and aimless void of Contemporary art. Dispensationally, the genesis of grace, Dinerstein’s voice cries out in the wilderness, a new frontier awaiting migration to a higher ground; hallowed ground.

http://jimdinerstein.com/

He’s back -They’re back; The Dynamic Duo Strike Again.

2011-09-12T07:12:00.000-07:00

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.

My standard definition of truth is that which can’t be denied. 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.

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.

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.

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.”

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.

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.

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.

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.

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.

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?

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.

The document presented developed an industry utilizing exclusively the graduates of Philadelphia’s Art Institutions:

The New Philadelphia Fine-Art Registry
White paper – Draft
Long Term Proposal: Accommodating MFA post graduation attrition

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.

Remedy:
• Establish and promote the “Philadelphia Fine-Arts Registry.”
• Establish and publicize an annual Economic Development Grant funding source-based on a “Training” initiative.
• Create 5 municipally owned or business cooperative “Exhibition” spaces for Registry members called registrants.
• Create a self-contained registrant managed and marketed City-Wide industry with “Genuine- Philadelphia – Made” branding.

Philadelphia Fine-Art Registry 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.

As an Economic Development Tool, 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.

Registry Galleries 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.

Introducing “Genuine- Philadelphia – Made” branding /marketing establishes significant registrant employment /revenue generating opportunities, promotes the MFA initiative, increases municipal publicity and promotes tourism.

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.

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.

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.

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.

Razza and the Crates -

2011-05-05T18:44:00.000-07:00

Hanging a "long distance" show is not without its unique challenges. There is always an unexpected. This phenomenon holds true with my Razza show.

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 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.

Today, only 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, these are the most luscious paintings you want to imagine.

Here are a few photos just out of the crate.

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.

Al Razza - Enough Said

2011-05-05T08:48:00.000-07:00

For Immediate Release
Contact: Karl Slocum
609-402-5917
karl@knappgallery.com

The Knapp Gallery Presents:

Razza In “New Work”

First Friday Opening: May 6th, 2011
Exhibition Dates: May 6th – May 29th, 2011
Artist Reception: Sun. May 7th (1pm – 4pm)

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.

MZB - Paint by Color - Part 3

2011-02-03T10:46:00.000-08:00

At 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 Paint by Color 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?

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.

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.

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.

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.

MZB - Paint by Color - Part 2

2011-02-02T12:56:00.000-08:00

Margaret’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.

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.

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.”

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.

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.

Margaret Zox Brown - Paint by Color

2011-01-13T17:23:00.000-08:00

For Immediate Release
Contact: Karl Slocum
267 455 0279

Exhibition Dates: February 4h – February 27th, 2011
First Friday Opening: February 4th from 6:00 – 9:30 pm
Artist Reception: Sat. February 5th, 2011 (1pm – 4pm)

(Philadelphia) – The Knapp Gallery continues its tradition of First Friday openings 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.

MZB’s 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.

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.

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.

Is that all there is, pigmentation, light’s frequency and wavelength? Color, the “tool” 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.

Enough with the safe version.

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 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.

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 Greeks bearing gifts. My unrest is at issue. I am helpless against such weapons of resolve.

MZB’s Paint by Color body of work, beyond piquing my curiosity, mystifies and confuses my want for closure, 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.

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; from whence cometh this bent on destruction? 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.

How dare the light dwell just beyond my grasp?

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.

Barnes Foundation Director Shows @ Knapp Gallery

2010-12-30T12:04:00.000-08:00

For Immediate Release
Contact: Karl Slocum
267 455 0279
karl@knappgallery.com

The Knapp Gallery Presents:
Nicolas King & Petros Pappalas

In Through the Out Door

Exhibition Dates: January 7th – January 30th, 2011
First Friday Opening: January 7th from 6:00 – 9:30 pm

Artist Reception: Sunday January 9th, 2011 (1pm – 4pm)

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.

Nicolas King enjoyed a unique history with the Barnes Foundation, here in Philadelphia 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.

The brawn of struggle yields honesty in Pappalas’ work. Petros paints in the moment. “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.

Hoiliday Troika @ Knapp

2010-12-03T09:41:00.000-08:00

The Knapp Gallery Presents: Meeting the Diversities

First Friday Opening: December 3rd
Exhibition: December 3rd – January 2nd 2011
Artist Reception: Sun. December 5th (1pm-4pm)

(Philadelphia) – The Knapp Gallery continues its tradition of First Friday openings and welcomes local emerging philadelphia artists Salvador Di Quinzio, Kevin Von Holtermann and Gail S. Kotel in our Holiday “Three in One” exhibition Meeting the Diversities. An homage to collectivism, Meeting the Diversity 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.

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.

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.

Gail Kotel’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.

Sending out an S.O.S.

2010-11-08T05:58:00.000-08:00

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.

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.

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.

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.

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.

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.

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.

2011 City-Wide Graduate Student Juried Exhibition/Contest

With quarter final, semi final and final round eliminations, the winning finalist receives:

• post graduation solo show at The Knapp Gallery
• year supply of art materials
• partial living stipend

This high profile competition will afford Philadelphia’s graduating MFA students a high visibility opportunity and platform to jumpstart and promote their careers.

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.

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.

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.

Contestant requirements:
• Graduating from a Philadelphia based MFA program in Spring 2011
• Winning Finalist must remain in Philadelphia to paint their exhibiting body of work.

For entry application contact Tereza at 267 455 0279

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:

The New Philadelphia Fine-Art RegistryLong Term Proposal: Accommodating MFA post graduation attrition

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.

Remedy:• Establish and promote the “Philadelphia Fine-Arts Registry.”
• Establish and publicize an annual Economic Development Grant funding source-based on a “Training” initiative.
• Create 5 municipally owned or business cooperative “Exhibition” spaces for Registry members called registrants.
• Create a self-contained registrant managed and marketed City-Wide industry with “Genuine- Philadelphia – Made” branding.

Philadelphia Fine-Art Registry 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.

As an Economic Development Tool, 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.

Registry Galleries 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.

Introducing “Genuine- Philadelphia – Made” branding /marketing establishes significant registrant employment /revenue generating opportunities, promotes the MFA initiative, increases municipal publicity and promotes tourism.

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.

Lupus / Art Philadelphia Gala Fundraiser

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.

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.

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.

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.

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.

First Lady Michelle Obama
The White House
1600 Pennsylvania Avenue, NW
Washington, DC 20500

October 26, 2011

Dear First Lady,

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.

I need your help. Philadelphia needs your help also.

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.

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.

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.

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.

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.

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.

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.

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.

Thank you for your kind attention to this matter.

With my fondest regards,

Karl Slocum, Director

Center City Opera Theater - Danse Russe

2010-10-23T11:33:00.000-07:00

Center City Opera Theater invites you to attend

“A Collaborative Inspiration”

The conception, process and reception of Danse Russe

Danse Russe 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!

WHAT: Dessert & Dialogue with Paul Moravec and Terry Teachout

WHEN: Friday November 5th, 2010 at 8PM - till

WHERE: The Knapp Gallery, 162 N. 3rd Street

TICKETS: Starting at $59 (General), $99 (VIP), $250 (Partner). Seating is limited! Available on-line at www.operatheater.org

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.

* The event will feature delectable desserts and beverages provided by LeBus Bakery, The Arbol Café, and Franklin Fountain.

Grigonis & Kurtz: Found But No Less Valued

2010-10-23T09:31:00.000-07:00

Dualism, the state of being two parts in one, often describes our dichotomous human nature. Some call it Yin and yang; others deem it a war between our coexisting egos and will. 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. This 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.

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.

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. 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.

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.

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 visual operatic balance – a melancholic yet
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.

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. .

Excited, I called Marjorie to come see the “find.” She was equally stoked. She blessed me for the find however making we swear with reverential deference that I would set the Mylars off to the side. Readiness would require a significant dose of
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.

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.

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 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.

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
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; “Abandoned material is born again”. I believe in “one horse –one rider”.
That’s Karl’s way of saying things work out if destined; a divine tethering. There is a lot of faith behind that.

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.

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,
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.

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 hanging. 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.

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.

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.

Katherine and I both 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
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.”

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.

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 receptiveness, Katherine’s clinical approach to life, her practice and painting is evident in the final product.

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.

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.
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.

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, matriarch 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.

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 reputation 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.

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.

2010-09-09T08:16:00.000-07:00

Still Life#1-Skulls, 40 x 37.25, oil, wax on canvas

For Immediate Release
Contact: Karl Slocum
267 455 0279
karl@knappgallery.com

The Knapp Gallery Presents
R. Michael Walsh: Recent Works 2010

First Friday Opening: September 3rd
Exhibition: September 3rd – September 26th
Artist Reception: Sat. September 11th (6pm -9 pm)

(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.

Solid and definable work best describes a low-key cat 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.

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.

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.

Just in Case

2010-08-18T17:20:00.000-07:00

I 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.

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.

I stand by my belief in Philadelphia’s ability to grow into a “World Class” Fine-Art community.

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.

We’ve created a few different avenues of contributing to the Fine-Art landscape here in the city. Our 2011 events include:
• PIFA - Pennsylvania International Festival of the Arts.
• LUPUS Foundation of America/Knapp Gallery Fundraiser
• City-Wide MFA Graduate Art Contest
• Submitted proposal creating significant employment opportunities to MFA graduates.

My 2011 exhibition calendar is stellar. I’ll share in a minute. Before I close I wanted to make a few acknowledgements:

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.

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.

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.

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.

I am privileged to have these painters in my stable.

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.

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.

Thanks gang.

Karl

August 2010 (Solo Show)
• Chris Callahan - current exhibition - http://www.flickr.com/photos/christopherart/

September 2010 (Solo Show)
• Michael Walsh –

October 2010 (group show)
Alfred Ortega
Marjorie Grigonis
Umberto Nigi
Tom Brady
Al Razza
Chris Callahan
Jim Bloom
Matt Baumgardner

November 2010m(Solo Show)
• Marjorie Grigonnis – Abstractionist – Philadelphia painter - http://www.marjoriegrigonis.com/

• Katherine Kurtz – Abstractionist –Philadelphia painter-

December 2010 (3 –man)
• (Kevin Von Holtermann)- www.kevinvonholtermann -
http://www.facebook.com/pages/KEVIN-VON-HOLTERMANN-ABSTRACTS/270164592352
• Gail Kotel -
• Salvador Di Quinzio -

2011

January (Two Man Show)
• Nicolas King (Ex-Barnes Foundation Director- Chris Callahan Barnes foundation corroborates Chris Callahan’s Barnes Foundation story.
• Petros Pappalas. Young cat strong hand. Represent/Abstract figure – http://www.petrospappalas.blogspot.com/

February (Solo Show)
• 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. http://www.margaretzoxbrown.com/

March (Solo Show)
• Mark Bullen - PAFA Graduate – Portrait artist – representationalist with a twist. Bullen is strong. http://www.markbullenstudio.com/cv.htm

April (Solo Show)
• Humberto Nigi - Brazilian painter – http://www.umbertonigi.com/

May (Solo Show)
• 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. http://www.razzadesign.com/

June (Solo Show)
• Tom Brady - http://www.artnet.com/artist/425245685/tom-brady.html

• http://theknappgallery.blogspot.com/2010/04/tom-brady-why-is-it-wonderful-art-of.html

July (Solo Show)
• Alfred Ortega – PAFA graduate. House full of art. http://www.alfredortega.com/

August (two man Show)
• Michael Walsh –
• Jim Bloom-ultrasound outsider artist - http://www.jgbloom.com/

September (Solo Show)
• Chris Callahan – Chris paid the rent last year - http://www.flickr.com/photos/christopherart/

October (Solo Show)
• 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. http://www.baumgardnerart.com

November (Solo Show)
• Clintel Steed – Awesome abstract painter. New York City - Represented by Lynn Dunham http://www.lynndunham.com/

• http://www.borghifineart.com/html/artistresults.asp?artist=35

December (Solo Show)
• William Knight – may be New Jersey’s best kept secret- http://www.inliquid.com/artist/knight_william/knight.php
http://www.inliquid.com/artist/knight_william/knight.php#paint

John Abner - Philadelphia Journeyman Painter

2010-08-17T13:21:00.000-07:00

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.

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 cut through the numbness. It takes strong artwork to get the synapses firing.

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 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.

Recently, I ran into some strong artwork by a mixed-mediast. 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” http://www.fourthwallarts.org/, 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.

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.

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 publications including Roll Call: A Generational Anthology of Black Literature and Art by Third World Press.

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.

Maybe that’s what I need to do-dedicate a portion of my blog to acknowledging Philadelphia’s journeymen.

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-esque 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.

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.

Thumbs up!

Chris Callahan - He’s back.

2010-08-13T12:36:00.000-07:00

Return artist exhibitions, RAs, mark anniversaries. It has been nearly a year since 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 Below See Level is a celebration of confidence, color and commitment.

The opening reception was awesome. We had a wonderful turnout with about 60% of Callahan’s buyers from last year attending the event. Leroy and Traci were absent. She did however stop in earlier in the day and loved the show. Leroy and Traci, overall, were my most committed collectors from last year. Refer to my November 12, 2009 blog: Traci and Leroy – Old City Collectors. Come to think of it, I’d like to photograph the bather painting the dynamic duo acquired last year with this year’s current bather painting as a comparrison of styles.

www.theknappgallery.blogspot.com/2009_11_01_archive.html

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 changes 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.”

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. 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.

In this new body of work, Callahan challenges us to travel back and embrace the freedom and power of our youth. Including a painting titled Me and My Chuck Taylors, 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. Chris propped a youthful photograph of him at 7 years old in shorts and black hi-top Pro Keds on the Gallery side table.

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 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.

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.

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.

Unique to Chris’s latest body of work is a study 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 between homosapien and the surrrounding creation; man’s lonely existence portrayed and juxtaposed to the forces of nature. Including titles Moonlit Camp, Lone Camper, The Poet and Truce, Callahan’s Ode to folk painting avails us to the painter’s nuts and bolts; the mechanics.

Callahan, enamored with the historicity and traditions of the American painter. Traveling north in summers, idealizing the landscape as spiritual metaphors, Callahan explores the symbology 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 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.

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 Barnes 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.

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:

“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).

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.

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.

Thank you and wishing you, and Knapp Gallery, the very best.” Nicolas King

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. 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.

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 history.

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.

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 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.

Chris’s body of work is about so much more than the Chuck’s. 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 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.

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 few more relationships like Callahan’s. In the midst of my optimism, I am also realistic; 12 for 12 seems unrealistic.

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.

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.

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 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.

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.

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 that his artwork spoke and continues speak into agreement. 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.

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, 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.

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.

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.

I Solicit Your Help!

2010-08-08T09:31:00.000-07:00

Hey gang,

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.

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.

Should you see something that you like contact me directly at 609 402 5917 and I will make it happen. I have more images.

Thanks for your consideration in this matter.

With my fondest regards,

Karl

Chris Callahan 3rd Solo Show on 3rd St.

2010-08-03T19:17:00.001-07:00

For Immediate Release
Contact: Karl Slocum
267 455 0279
karl@knappgallery.com

The Knapp Gallery Presents
Chris Callahan in Below See Level.

Exhibition Dates: Aug 6th – Aug 29th, 2010
First Friday hours: Aug 6th from 6:00 – 9:30 pm
Artist Reception; Sat. Aug 7th, 2010 6 pm – 9:30 pm

(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.

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.

Reviewed for his last solo show by Victoria Skelly in the Broad Street Review
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.”

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.

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.

Got shoes? "Vote with your Feet."

2010-07-14T11:57:00.000-07:00

Give’em shoes and they’ll walk out on you. They did and we walked.

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.

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.

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 our 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.

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.”

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:

"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.

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.

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.

"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.”

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?

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.

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.

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.

But please, don’t ask us for a double espresso latte with a lemon twist – whatever that is." Barclay Knapp

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.

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.

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.

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.”

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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 being; “no art – no life.” Under this banner I am willing to fight, if nothing more than by "voting with my feet."

"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.

Nancy E. F. Halbert "Painted Diary - Figurative Expressions"

2010-06-25T09:56:00.000-07:00

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.

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 today or tomorrow. I can only do this by continuing to find and promote the best art available. There is only forward and higher. All indications from my short tenure here in Philadelphia say that we are making progress.

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 presentation, we are investigating new approaches to offering a high quality viewing experience.

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 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.

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 here in the Mid Atlantic Region stretching southward through to the Florida Keys.

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 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.

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.

June 2010 - Community Month

2010-05-25T10:00:00.000-07:00

Back in 2009, when I was introduced to City Year – Greater Philadelphia http://www.cityyear.org/philadelphia.aspx, 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.

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?

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.

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.

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.

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.

…………………..

The remainder of June, we are offering our walls to a few unknowns; two local talents, one not having yet made it into the exhibition ring the other excluded from mainstream exhibitions by negating circumstances.

Ikru Salmon, near Homeless, peanut butter a dietary staple, carves, paints, writes 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. Unseen Beauty, 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.”

Bonnie Shanas - “As a student of psychology and enthusiast of human nature, I 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.

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.” Lucid Dreams 28” x 33 ½”

My next blog entry will give the full stories of Ikru and Bonnie.

More on Ober-Rae Starr Livingstone - beyond the nuts and bolts

2010-04-20T17:21:00.000-07:00

How 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 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 necessity. Amidst the darkness, uncertainty and cruel realities associated with 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!”

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 painters. My attempts for some time have been to understand why and how our psyche endures the rigors and pain associated with the process.

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 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.

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
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.

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
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?

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 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.”

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.

Ober-Rae Starr Livingston

2010-04-20T08:40:00.000-07:00

For Immediate Release
Contact: Karl Slocum
609-402-5917
karl@knappgallery.com

The Knapp Gallery Presents
Ober-Rae Starr Livingstone: Places in Time.

Exhibition Dates: May 7th – May 31st, 2010
First Friday Gallery hours: May 7th from 6:00 – 10:00 pm
Opening Reception; May 6, 2010 6 pm – 9:30 pm

(Philadelphia) – The Knapp Gallery continues its tradition of First Friday openings and welcomes Ober-Rae Starr Livingstone in his current body of paintings Places in time. Livingstone, a resident of Cincinnati, is currently represented by Galleries in Ohio, Kentucky and Tennessee.

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.”

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.

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.

Livingstone’s paintings are included in private and corporate collections in the United States, Canada, Europe, and Africa.

See Ober-Rae’s paintings at Knapp Gallery. www.knappgallery.com/artists-rae.php

Tom Brady: Why is it Wonderful? An Art of Experiences

2010-04-07T18:12:00.000-07:00

Exhibition Dates: April 2, 2010 - May 2, 2010
First Friday Gallery hours: March 5th from 6:00 – 10:00 pm
Opening Reception; April 10, 2010 6pm – 10 pm

Not much to write about Brady. Less is more. No mystery here. Besides, truth doesn’t require explanation. Truth, you ask? What does Art have to do with truth? For the record, truth participates in everything.

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 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.

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.
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.

Truth: Tom’s paintings speak for themselves. 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
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
.
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. Final round drafts make it to the “pastel” elimination round. For each of his final paintings, Tom completes a pastel version first.

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 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.

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 they have in Tom Brady. Unfortunately, they are waiting for him to die first; I am saddened by this.

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. 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.

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. 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.

Bloom at Knapp / Picasso at Art Museum

2010-02-26T18:25:00.000-08:00

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.” 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

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 Picasso’s style of painting, most would agree that his work denotes a standard by which others are judged. Ergo, our definition of good -“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.

I find it serendipitous that Knapp is exhibiting Jim’s art concomitantly with The Picasso exhibit at the 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.

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. 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 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.

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 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.

Today, I just want to set the work out there. I want you to see. I want you to enjoy.

I will get back with you in a bit.

Hang ‘em High!

2010-02-21T09:17:00.000-08:00

Traditionally such an expression would depict mass opinion, the lynch mob mentality, and an indictment usually before the final verdict. Sorry to disappoint you. We’re not lynching anyone here. At the Knapp Gallery, we’ve applied a new sentiment to this long held expression.

Tom Brady, senior painter of The Knapp Gallery stable criticizes me for hanging our paintings here in the gallery too high. I get criticized for most things that I do. Somebody always has something to say, from the owner down to my visitors. This job has helped to thicken my skin.

Success, despite the benefits, has also with it many drawbacks. Of which one is limited space for the large size of our events. Our Gallery, though adequate in its length, suffers from an inadequate width. Hanging medium to large paintings in the front half of the gallery is a challenge, they don’t breathe well. Rarely do our events draw a small crowd. We are usually packed to the walls. Hanging wet paintings is a no-no. My insurance does not cover replacing fur coats with vermilion stripes across the back. Hanging the paintings high allows for increased vision through the crowd.

True to form, Adam’s reception had us packed out like sardines. Despite limited visibility, two medium sized paintings sold. Adam cut the deal with the collector. I was asked only to handle the paperwork. My job is becoming easier. Though I wore the soles out on three pairs of cowboy boots this year, my efforts are beginning to pay off. The work is now selling itself. I’m a bit surprised at work when it sells at openings. It is usual during the calm after the storm buyers and collector’s surface here at Knapp. Oftentimes, the show is down before I begin to get solid inquiries that lead to purchases.

I don’t expect this to be the case regarding my favorite painting of the show. Floating, a large 5 x 5, hangs in solitude on the back wall of the gallery. I consider the back wall prime real estate. Our patronage is well accustomed this perspective. I reserve the back wall for the show piece. Adam’s Mummy, supported by a life preserver, comes to life. That’s all I’m saying about this painting. You’re gonna have to come see for yourself. Just so you know, the boss has already told me she wants it if it does not sell. Listed at $5,000.00, this painting won’t last till the show comes down on the 28th. If you’re slow you blow.

Enjoy the sunshine. It is a beautiful day.

Bad weather - Great show

2010-02-19T10:03:00.001-08:00

The weather has not been good for Adam’s show. It is a shame. He worked really hard to pull off this exhibition. The show looks awesome. Moving forward, despite poor parking, the snow is still a hindrance, Adam’s artist reception goes live tomorrow night at 6 pm.

Consensus among our visitors is that Adam’s work, beyond engaging captures the essence of his character as a painter. Self disclosure becomes transparent in Adam’s work. Additionally, there exists a legitimizing quality in how Adam applies paint. Many visiting painters are caught up in his generosity. Christopher Callahan, a Knapp Gallery painter stopped by yesterday and was moved by Adam’s commitment to the paint. We could have a lengthy conversation about what that really means. I love painters’ use of language.

For the most part, Adam paints with what we painters call a “dry” brush. Use of an under-texture allows the painter to “ride” the crest of a painted landscape catching only the surface. The remaining shadow and under-color offers the painting a softened tonal display. While this technique requires a deft hand, Adam’s counter with hard and edgy subject matter leaves the viewer a bit off balance. Know this right up front; Adam’s work is about tension. His adept execution in applying paint is paramount to his conveying an edgy emotional outcome.

Hopefully, we will see you here at The Knapp Gallery tomorrow, 20 Feb ’10.

Adam Lee Farrell - Solos at Knapp

2010-01-22T10:28:00.000-08:00

Of all the artists that I currently represent, Adam Farrell is the most intense, complicated, and opinionated. A heady cat, he is a closet academic. A Graduate of Tyler School of Art, Adam Farrell is a product of Philadelphia. A veteran Knapp Gallery painter, he is known for serving up complex, controversial and cryptic faire. He picks at pressure points, the spots of irritation that are difficult to scratch. Recognizable imagery disarms and lures us into awaiting snares of complicity.

Diametrically opposed to physics’ fundamental postulate, “the shortest distance between two points is a straight line,” Adam magnetically responds to “for every action there is an equal and opposite reaction.” I would imagine Adam’s theme song to be Supertramp’s 70s classic “Take the long way home.” This is a game he plays. Like a copyright, he retains the final rights to the meaning behind is work, wanting you to walk away with your own experience. Creating and speaking a new language, it is impossible to cipher Farrell truth. Google Translate is of no value. You are on your own. He likes it like that.

Farrell possesses photo realism drawing and painting skills. Shhh! Few people know this. Why is this you ask, he leaves this particular skill in the tool box. Adam cares little for the mundane. After all, anyone can replicate, creating afresh requires skill. Part and parcel to Adam’s skills set is his commitment to the craft. It is all about the paint. Adam is quick to tell you his visual message is gleaned always though the application of paint. OCD in his delivery, Adam’s imagery selection must first withstand the rigors of his brush and stroke. Perspective and light quality reinforce and validate his tenure as a journeyman. If there were such an organization, Adam would be a card carrying lifetime member of the Philadelphia Chapter of the Painter’s Coalition for the advancement of Oil Painters. He is serious about his craft. This is most refreshing.

With a proclivity for the comedic, Adam’s sarcasm can be unsettling. Often politically based and socially charged, Farrell’s images demand of us alternative levels of collective responsibility. Farrell is extremely present to real time, requiring of us a commensurate measure of awareness. He does not tolerate slackers and requires our undivided participation. A pervasive a sense of the hilarious, the ridiculous even, Adam is not to be taken lightly. He is serious as a heart attack. Despite a continued and reinforced ideal of anonymity, Adam’s situational plotting point the bony finger at the randomness of folly, fury and futility. Adam is not loud but crafty in ensnaring his victims, only the ignorant escape.

Farrell gives us enough room to hang ourselves. Take nothing for granted. Adam has sized up every angle of his work. A results minded creator, it is not Adam’s intent to steer the viewer towards a specific end. Pensive in all things, he exerts significant consideration of the possibilities where and how one might draw a final conclusion. A premature assessment or judgment like ejaculation will leave you unsatisfied. This painter expects of you a diligent and thorough work ethic. Deceiving portals offer apparent safe passage through to his truth. Pejorative insults lay in wait for the fool hearty. He wants you to take the bait.

Adam’s distinct and purposeful choice of caricatures, his iconography, keeps us on guard and off balance; a bizarre and unnerving menagerie. Forced viability, the employing of repetition as a tool to anneal his forgings, enforces his sculptural sensibilities. Though a painter, structural dogma raises the stakes to 3d. An illusionist by nature, Adam‘s keen sense of suggestion sets up his pointed though remarkably sophisticated prestige.

Adam Lee Farrell - Painter / Thinker

2010-01-19T08:01:00.000-08:00

Who: ...Adam Lee Farrell

What: ...As Above, So Below

..............................................................."Singularity"

When 1: ...5 February 2010..........28 February 2010

When 2: ...Artist Reception Saturday 6 February 2010 - 6pm to 10pm

"The ability to create a specific, recognizable image using undefined edges and abstract mark making allows for the paint itself to rival the suggestion of realistic imagery." Adam Lee Farrell

Where 1: ...The Knapp Gallery
Where 2: ...162 N 3rd Street, Philadelphia PA 19106

How: ...www.knappgallery.com 267.455.0279

2010-01-12T15:47:00.001-08:00

“Good job Ashley! That’s how to swing the bat.”

There you have it. Our leadoff batter is safely aboard first base. With commitments to four paintings, day one of releasing her show, I am convinced the
remainder of January will follow accordingly. With all the pre-game feedback I had been receiving, I knew we’d have a strong start. Ashley’s growth from her first Knapp Gallery opening all but assured me that the new work would go over well.
Ashley’s personal growth since the summer has afforded her the confidence to offer up new renderings that are a bit softer than the first show, but without giving up
that edge we’ve come to know and deem her fingerprint. Regarding the “edge”, still a far cry from PG, her work now includes some notable differences since her first time out of the gate.

Immediately upon stepping into Ashley’s installation, (rear of gallery) we are confronted with a sense of completeness, a resolve if you will, in her storytelling. Resolution and reconciliation might seem impossible considering the
in your face explicit and elicit content of her work. This new work, albeit with a “softened edge” is remarkably accessible, allowing us to engage. Once inside her world, there is an unfolding of detail and nuance revealing bits and data in consumable chunks. Expelled From Eden, though shocking is not about shock value. Ashley is not an entertainer. This is not a performance. Simply put she paints. She is not contemplating how to get a reaction. She opens her mouth and these are the visual words that are spoken. This is her daily language. No fronting here. My girl is straight up and flat out honest in her work.

The backdrop, her wall work, the vibrant macro environment into which she sets her sellable vignettes, is settled while articulately driven with purpose. The ensuing integration is demonstrably and definably Ashley. The ephemeral nature of her wall work is distinctly Ashley as well. She cares least for the work that most viewers consider lost in the repainting of the gallery, at the show’s conclusion. Overt confidence of skill testifies to her authenticity. With machine-like consistency, she can produce on-demand imagery with blinding speed; while talking and drinking a cup of coffee. Ashley is fluid and comfortable in her work.

Expelled from Eden’s maturation of imagery over the imagery of Forgiven, her first show at the Knapp Gallery has me most excited. Certain paintings like Girl from New Orleans demonstrate this most definitively. Key to Ashley’s new found maturity is the use of a painting within a painting. The end result is a multi-tiered layered hierarchy of imagery. Girl from New Orleans includes a microcosm of particulars, personal dramas that define and redefine the depicted image of the child. Consequently, the hard copy, the sellable painting though set within the wall work, because of the micro description, maintains a significant stand alone quality as well. Throughout Expelled from Eden, Ashley employs multiple derivatives of this new found equation.

Ashley has committed significant real estate, an entire wall, to the events surrounding hurricane Katrina and its victims. More than a dedication, our painter sought to create a visual landscape that transcends wall art into an active participatory installation. Many of Ashley’s painted Katrina images are derived from photographs. Powerfully stacked imagery intensifies the sensation of drowning. Desiring the viewer’s consideration and sensitivity of Katrina’s immensity, Ashley adopts a visually colloquial language of Afro-centric imagery; an abstract aesthetic of a black artist’s perspective. Ashley, dogmatic in her approach, points us to perspectives not typically our own. Recurring and socially dynamic themes of poverty and struggle for power typify her testament to personal experience.

Happy New Year! - 2010

2010-01-10T13:06:00.000-08:00

Hey Gang,

Salutations and Happy New Year to all my readers, from The Knapp Gallery and The Director’s Chair. Thanks for a remarkable '09. I appreciate all your comments, both published and non-published. You have all helped me grow tremendously. I look forward to spending a prosperous and healthy 2010 with you. I just want to stop for a few moments and share some thoughts, moving into the New Year. We are making some changes and some exciting additions.

Let me start off by updating Ashley’s show. Day one of our releasing Ashley’s work we had commitments to four paintings!!!! The Expelled from Eden opening enjoyed just over 100 visitors, despite frigid temperatures and non-first Friday exhibit. The streets were dead but we enjoyed ourselves and outstanding art until nearly ten PM.

The bar has been raised. Unfortunately for some of my artists, I’ve had to say Good bye. Holding to the notion of quality over quantity, I am reducing the size our stable. This is tough for me. Not one to enjoy saying “no”, I am compelled to prune back, desiring a higher quality yield. How does this play out in the practicum? Firstly, my rejection percentage of art submittals will most likely increase to 85 percent from 75%. I did a few favors this year and paid some costs for kindness. No more favors. Either an artist makes the grade or they don’t.

The boss and I are dialoguing about my position on allowing New York artists to show here at the Knapp Gallery. In my attempt to honor the bosses concerns, I will accept one New York artist for my 2011 calendar. So New Yorkers send me your stuff. But know this; I am going to be tough. I will accept New York portfolio submittals until Apr 30, 2010. Consequently, as I have rethought my New York position, or had my New York position rethought for me, I will re-accept NYC portfolios that I have dismissed since my taking over the Director’s chair.

I have one guaranteed out -of-state spot to North Carolina based Artist Matt Baumgardner. Beyond a friend for nearly twenty years, Matt is an accomplished internationally recognized painter; http://www.baumgardnerart.com/index.html One might consider this a favor that Matt is doing for me and the Knapp Gallery. Matt and I have talked a lot this past year ironing out logistics and believe we have it all but worked out. I’ll keep you posted.

I am keeping one other 2011 non -New York, out of state opportunity available for what I’ll call a walk-in applicant. I want the freedom to pick an artist on the spot, either in my travels or an actual walk-in.

Enough of housekeeping, let’s get back to Philadelphia and 2010. Two very exciting additions on the 2010 horizon: City Year and The Knapp Gallery City-Wide Graduate Student Juried Art exhibition.

In concert with the national City-Year team http://www.cityyear.org/default_ektid13307.aspx , the Knapp gallery is dedicating a partial spot geared to Philadelphia’s high school artists. In our continued attempt to participate in the maintaining, developing and nurturing of the Philadelphia Art Community we are affording two June weekend exhibitions for participants of City Year events.

A most exciting addition to our 2010 calendar is our City-Wide Graduate Student Juried Art exhibition, developed by my new assistant Tereza Gowen. Tereza’s goal is to create a yearly competitive award that Philadelphia Graduate Art Students come to covet, expect and pursue. The winner of this show will be the recipient of their first solo show on what I call the “Boulevard.”

Just for the record, we are employing a unique method of selecting our jury. Each juror must be nominated anonymously. We are accepting nominations through May 31, 2010. Our hope is there will be multiple nominations. From this pool of multiple nominations, we will select a seven person jury.

Ashley Flynn - Expelled From Eden

2009-12-27T12:40:00.000-08:00

Fasten your seat belts! She’s back. Ashley Flynn, a Philadelphia based painter, is my lead off January ‘10 artist and she’s on fire! No need for bringing your hat, coat and mittens, she has brought enough heat for us all.

While I normally preview a percentage of an exhibition’s images, I’m offering up only one appetite whetting rendering; the show card image called Clown. A key image in her show titled Expelled From Eden we are given a quick peek into the duality of her artistic nature; Ashley does photography too. An acolyte of Zoe Strauss, Flynn’s shooter sensibilities stand on their own merit; I am permitting a few prints in the show. Additionally, Ashley has requested a television to play a video that will run on a continuous loop. God help me! I may have to get some relief, take some time off. The last time Ashley came to town, I hid out in the basement. She’s intense. We fought like cats and dogs. She’ll say that’s a lie claiming she didn’t fight; only I did. Ashley will also tell you, in her estimation, I fight with everyone. The jury is still out on this verdict.

To the unfortunates, those that did not see my last Ashley Flynn exhibition, her work all but stands up and talks to you. No, it actually screams at you. I lost a few patrons to her last show due to the graphic and provocative nature of her imagery. There is something to say for spring cleaning. A head count for Flynn’s exhibition shows a close second to my September/October Christopher Callahan Show. This is most likely a by-product of the stellar review by Libby Rosof in her nationally acclaimed blog; http://theartblog.org/2009/07/art-without-borders-ashley-flynn-at-knapp/. Not one to spend too much time in the past, we are anticipating record participation in Ashley’s January exhibit, her second solo show. But just a side note, Ashley was included in the “Liberta 2009 Awards”. http://theartblog.org/2009/12/the-return-of-liberta-awards-for-2009/#more-11067 .

Early on, when Barclay & Rebecca Knapp asked me to join the Knapp Gallery family, as Director, I was given the keys to the kingdom and only one directive – “Take risks.” Save for the Projects Gallery, in Northern Liberties, The Knapp Gallery is the only Philadelphia non-school establishment that has hoisted the Flynn flag. We are the only Gallery to give Ashley a solo show. Am I calling Ashley’s work a risk? Not necessarily, though in the business to sell art, you know - make the rent, the risqué and in- your-face nature of Ashley’s work, does not lend itself to mainstream sales.

Well, that being said, what are the profile and or demographics of a potential buyer of Flynn’s paintings? Leroy Thompson and Traci Wolbert, of Pfuel, Inc. LLC, art collectors and friends of the Knapp Gallery purchased two Flynn paintings her last time around. Urban dwellers, intense professionals, Black and White, this duo has also purchased three paintings by Chris Callahan, an artist I showed back in September/October. http://theknappgallery.blogspot.com/2009/11/traci-and-leroy-old-city-collectors.html As artists, painters, Flynn and Callahan are at opposite ends of the contemporary art spectrum; Callahan a Barnesian Impressionist and Ashley, well Ashley is Ashley. Ashley despises being categorized in any fashion. What’s my point? Seemingly bi-polar in their tastes Leroy and Traci simply know a good thing when they see it. Ergo, there is only one requirement, maybe two, in appreciating and acquiring Flynn’s work; one must have a sound understanding of great art and a keen sense for opportunity. Yes, opportunity.

Opportunity often disguises itself. I was once told “Success occurs when opportunity meets preparation.” Rarely does the same opportunity come around twice. However, here we are again. There are limited opportunities to see an installation/exhibition with the power that Ashley delivers; despite Ashley’s process being a nightmare to a Gallery Director. It took me 4, nearly 5 days to get my walls back to white after taking down her last show. First, she hangs paintings and drawings that she creates in her studio. In some instances she’ll even hang some blank paper or canvas. One might call this first step and result the rough draft. Secondly, with remarkable intensity, Ashley comes behind and paints wall renderings creating interwoven vignettes, visual narrative that ultimately tie all the paintings and images into an interdependent and unified story, a homily, if you will. Ashley is all about the moment, with no concern for the show’s end and the “lost” wall renderings. “I am not making the art as sellable pieces only. The most important thing is always the narrative. The wall affords me the depth I need to create the desired visual landscape. That it is ephemeral makes it seem like a distant memory, creating an intimacy with the viewer that cannot be reached in any other way.”

I had taken down Ashley’s last show; the “Wall art” still remained. A woman came through the door panting; “A friend said I had to see this show. That I’d regret a once in a life time opportunity if I missed it. Am I too late?” As the “Wall art” left voids where the Studio-created art had hung, I was able to piece much of the show back together for her. She was remarkably appreciative.

Having launched my press release in Philadelphia Independent Media Center, I’ve already been contacted by interested radio host to do a live broadcasted interview with Ashley. Link to Ashley’s press release- http://www.phillyimc.org/en/ashley-flynn-second-solo-show-expelled-eden-knapp-gallery-jan-8th See you all on the 8th.

Tamara Giesberts - Foreign Faire

2009-12-03T19:36:00.001-08:00

Amazing is the experience of stepping off the plane in a foreign land. Though oftentime we miss some great stuff, as we are doing our best to drive on the right side of the road, let alone grabbing at nuance and experiencing the joy of a new and different place. Everything is different. Always on the run, rarely are we afforded the luxury of time to relax during travel. Briefly, we waft at the food and wrestle with language. We avoid the politics. We are wowed by the history, the age of the land and the Lore. We romanticize with foreign lands; like ships, we are just passing through. At best, if we bring back a solid memory, we've done good.

This month, this holiday season, Tamara Giesberts brings foreign faire to Philadelphia. The Knapp Gallery is thrilled to share in some contemporary Dutch tradition. It has been a while since I’ve had to say the artist for my current show is not from PA., that I was not promoting a Philadelphia talent. This departure from my dogma is not without its costs. Fundamentally, though, it’s about the art, the talent and giftedness of an artist. After all, I am about my Gallery; doing whatever it takes to move it forward. Sure, holding the banner high for the cause of Philadelphia artists, as a concurrent endeavor, has significant value. My primary function as Director is to grow the Knapp Gallery.

Acknowledgement is a dynamic thing. Now, I am free to exist in a space governed by “art for art” sake. Released momentarily from my pro “Philly First “mentality, I am caught up in the heaviness of Tamara’s imagery. I like it heavy, like being wrapped in a handmade quilt of emotion. Facts are facts. My emotional chord is my trigger. You get me through my heart. Another acknowledgement; straight up, I have to say, I could not turn away from these paintings. Immediately, I was taken with the overwhelming sense of desolation, the missing human element.

Tamara’s paintings strike a chord that visually articulates an emotional condition with which I am quite familiar. Certain boyhood memories come racing to the surface having seen this distinctive body of paintings. Her dark haunting images of vacant, dark and mysterious homes and houses, interiors and exteriors, conjure up latent emotional memories of my grandfather’s patriarchal home at 62 Ashland Avenue, in East Orange, New Jersey. An old three story home, “Six and Two” Ashland Ave., known for its dark hallway and stairs to the rear entrance of the kitchen, held secrets of the ages. Dark by nature, the house would talk to you. Listen closely, in the wee hours of the morning and you could hear the stories of my father’s youth.

Tamara Giesberts’ paintings harness the power of memory.

I’ve waited patiently to hang these paintings, believing the holiday season, when our dwellings are bursting with activity, to be the perfect time to unleash the profound, powerful and dramatic nature of Tamara’s work in My home is my Castle. Hailing from Amsterdam, the Netherlands, now residing in Fanwood, NJ, Tamara is a long way from home. A foreign trained architectural designer, Tamara transcends theory into art and demonstrates her painterly understanding of “the dwelling” with a profound confidence in perspective, line and light.

Tamara’s ability to summon the tradition of Dutch masters’ depicting time of day by quality of light rounds out the resolution of this work. “Light typical for the weather and the hour of the present moment points to a context of ongoing time, subtly making temporariness tangible.” With a firm hand, Tamara leads the viewer around in her paintings. There are demonstrative triggers that she employs. Big on convergence Tamara leads you into her web turning you here and there, hither and yon. Remarkably, we can feel ourselves being manipulated. Bold vertical and horizontal line guide us like compasses. A near photographic depth of field, Tamara artfully waltzes us with color and stroke. Delicate in its dispatch, Tamara the technician unleashes raw emotion, some of it chilling.

Technically perfect in perspective, Tamara’s tool box is deep. Above all things, she is the Queen of Light. Tamara’s genius is her instinctual and dramatic use of light. With fervor, Wyeth, Mondrian and Diebenkorn show up. Oddly enough, there is a smattering of Lichtenstein in The Projector. Like religion, there is always heavy light, light through windows, doors and veils. There is reflected light, from icy smooth and silky to some pasty.

A master of emotion through light, Tamara massages her vignettes with identifiable moods. We are caught up in awareness. The overt shift away from human dominance dramatizes the environment; the dwelling and its bareness. Interestingly, Tamara identifies the Dwelling’s life by what we as humans have left behind, a "temporariness"she talks about. We are lost in the images. In our experiencing loss, we find ourselves. Simple.

Traci and JR - Old City Collectors

2009-11-12T20:16:00.000-08:00

Okay, I only have time for a quickie. Things have been hectic. But I am in the mood to tell a story. Traci and JR are some Old City Dwellers that make running an art gallery all worth the effort. Now friends as well as collectors, these guys bring awesome energy where ever they go. I am blessed to know them as friends. As collectors, they are shrewd! I can say that, right? That’s all I’m saying.

My short stay here in Old City, Philadelphia has been awesome, in part because of the remarkable people I get to meet. Everyone does not want relationship; I’ll give you all the room you want. I’ll willingly engage with those desiring discourse. Ask me about the art, I’ll share.

JR came through a few months back. We hit it off well. Things went well until we got into a fight, a verbal argument over art. We didn’t talk for two months. Acknowledging the foolishness of our tiff, we made up one day when JR was trying to hide behind a menu at a prominent neighborhood outdoor restaurant. Neither of us remembers the nature of the disagreement. Traci will tell you the problem stems from JR and I liking the same art. The bottom line, we enjoy getting together talking, selling and buying art. I doubt we’ll fight anymore.

From what I understand, JR has a remarkable collection of art, including a Warhol and a Dali. I don’t know a lot about JR, none of that stuff matters. In my mind, he is some eccentric millionaire that wanders the streets, doing whatever he wants whenever he wants. One never knows what to expect from JR. However, if you are in a jam in need of assistance, you can count on him to help. He has even helped me move 4 large truckloads of precious milled hardwoods into my shop, up in Bucks County. He’s only let me down once. I called him to have him bring me a cup of coffee to the gallery. He texted me an hour later saying he was in New York visiting a painting he had donated to an art show.

Beware of return favors. The best part of being JR’s friend is that we never know what will be asked of us in return. JR has a unique sense for fun. An avid videographer, JR develops and films eccentric themes that are part of a project, the direction of which, save for Traci, is known by him alone. On one occasion I was asked to participate, as an actor in one of his films. As all things are a mystery with JR, I am not at liberty to share the nature of my role in the video. You are going to have to wait for the release of his film.

Okay, in talking about JR and his love for film, I’ll share my favorite line from the Basquiat movie filmed by Julian Schnabel. Here’s the set up - over a plate of spaghetti, Jean Michel Basquiat is complaining about the press and how they have hit pit him against Warhol. The Julian Schnabel character, played by Gary Oldman, in response to this rant about the press, says something like …”Jean Michel, go and see Andy; you are all he cares about. And besides, it’s hard to get good conversation in this town.” It is like that with JR; not your garden variety of conversation. Time spent with JR is never boring. On the ground level he’s the consummate artist and life is his art.

The pictures show Traci and JR celebrating their latest acquisition, “Night Bathers 2, a waterfall painting, by Christopher Callahan. These young Old City Collectors know a good thing when they see it. They also bought “Making Friends” a few weeks later. The Duo, as I call them, shares my vision of supporting Philadelphia painters. They also purchased a few Ashley Flynn Paintings, back when Flynn showed in the summer.

JR will play cat and mouse with you, but in the end, he knows what he likes and wants.

JR’s got his own thing going on. Don’t see a lot of that going around; proper respect given to that. He’s about believing in what you do as the sole motivator for everything else –with no excuses. As a personal trainer, I have only known JR through a limited lens. He berated me for taking a left turn off a monster hill, on my bicycle, to shift to a lower gear. From then on there have been no left turns. No excuses. He’s demanding in his perspective and position on things, but at the same time demonstrates he knows the road ahead that will set you free.

Okay, I said this was going to be a quickie. I Gotta rap this up. It’s been real.

Guess what gang? My friends and customers are real special. No, this is not your traditional gallery. Yet, what you see is what you get; great art, great friends and fresh perspective.

Traci calls me Uncle Karl. Man, life is good.

Thanks guys. I love what you bring to the Gallery.

Diane Russo - Young Gun

2009-11-08T11:35:00.001-08:00

Long before I was a painter, I studied photography. Despite my choice of painting, as my primary art form, my affinity for the craft of Photography has never waned. A difficult path to trod, present day fine art photographers must struggle against the overwhelming barrage of visual commercial traffic so common in our daily lives. During my Ashley Flynn show, I was introduced to world renown Philadelphia –based Zoe Strauss http://www.zoestrauss.com/oe strauss.com/ . Zoe’s work is piercing cutting through the “stuff” of the façade baring the essence of her subjects. Like pure voltage, she connects the viewer to the source of power; nothing is lost in getting the image from the lens to our eye. It is clearly understandable why Zoe is one of the industry’s hottest and most respected shooters.

Young shooter Diane Russo http://www.dianerusso.com/ got my attention this past week with a handful of striking images. Exhibiting a naïve savvy and a Straussian punch, Diane’s introspection unveils the space that resides between the simple and the complex. Garnished in nuance, Dianne’s gentle hand takes the hard edge out of vulnerability exposing the soft under belly of circumstance. These images are intimate relational gestures offering a sensitive and sensual glimpse of form and figure.

I’m taken in by the mature and developed quality of Diane’s Images. So far beyond orchestration, there exists an organic sensibility. A male viewer, caught up in a unique perspective shift, I am mindful of the totality of the female form, its sexual orientation and the dramatic difference from male musculature and genitalia. These situational vignettes lend themselves to our exploration and participation. Masterfully, Diane slices through time, halting meter, giving us palatable chunks to savor. Intrinsically, the power of the form and figure as we know it transcends the moment, becoming art in its symmetry and flow. The captured and unfolding drama begs our investigation.

If we test the work and ask “so what” – “why is this good photography?” we can quickly reconcile the value and success of the work by its ability to elicit a genuine emotional response. Repeatedly, I’ve gone back for another look. Everyone that I’ve shown the work to agrees, beyond daring, the work is insightful, sensitive and honest. Diane gets my thumbs up and Young Artist of the Week Award.

You are what you eat.

2009-10-09T14:54:00.001-07:00

We are products of our environments. Try as we may, we cannot outrun the variables interwoven into the fabric of our character. Shaped by time, experience and events, we are tethered to the “story “of our lives. Such is the human condition that we are buffeted and bruised by unpredictable external conditions. The nuance of our stories, while the flavor of individualism, divide us into groups of similar ilk. Many of these distinctions are governed by race, sex and the age we are born into history. We talk of people as products of an era; the 70s, 60s, from the “baby boomer” generation. Ascribing values based on specific characteristics of an era, helps us to understand individual perspective.

At every turn, we are gathering data, trying to make sense out it all. Element by element we dissect life’s minutia, breaking down the whole into bite size chunks; synthesizing processed data into new perspective and beliefs. Our imprinted beliefs, perspective and personal codes are largely based on demographics and economics; our social, educational and cultural orientation. Long has been the debate of nature vs. nurture; so many contradictions are wrapped up in the flesh. These are but a few of the controlling strings of the puppet artist that wield the brush. Our response, as artists, to the story of our lives becomes the flavor and power of our art. Stroke by stroke we pour out the by product, the purified solid matter of our experience. Anna Belle Loeb, true to this formula, paints her way free of life’s inequitable entanglements.

A product of the 40’s, reared on the heels of a recovering post depression economy; Anna Belle was born into an era of upheaval and unrest. A teen ager, Anna Belle was an eye witness to the integration of Little Rock Central High School, in Little Rock, Arkansas; she was in New Orleans when Kennedy was shot. Anna Belle Loeb, a white Southerner, whose youth was tainted by ugliness of segregation, has lived to see a Black man voted into the Presidency of the United States. She has seen a lot. Trained in ethics, a lawyer turned painter, Anna Belle’s art plays out years of anguish, resistance and dedication as a social and political activist. Wanting the wrongs of history righted, calling out for equity, justice and truth, she paints away at the dross of life exposing the limitless possibilities that come with freedom.

Painting the moment, documenting events, she is a chronicler - a present day Griot, a title normally reserved and ascribed to an African Tribal storyteller, always a man. The Griot's role was to preserve the genealogies and oral traditions of the tribe. Anna Belle’s paintings, like pages of time, are set apart as documents and declarations; parchments. A voracious reader, Loeb’s bold colorful in your face artistic world is oftentimes driven by words. Her most recent show, “Rabbit Years,” held at the Pagus Gallery, in Norristown, PA was dedicated to famous Pennsylvania born, American novelist/poet John Updike. She too is a poet with a brush.

Tim Hawkesworth, Loeb’s teacher and mentor, says of her paintings; “Anna Belle is a Southerner and her art flows from a Southern consciousness. It is quick, Laconic, comedic and tragic. It does not stand still. It is full of contradictions and the complexity of good conversation. They have the bite of graffiti and the ferocity of an uncompromised stare. They are street tough and sharp. While they seduce and engage our senses they can at times tear at our consciousness. They can break our hearts.”

Laser sharp is her scapel, slicing through bone and marrow. Titles including The Disappearing White Guy, Mudslide of Politics, Big Bucks, Thou Shalt not break my Heart, Inherit the Wind, affirm the intensity of her message. Visually, with an equaled tenacity, she wields an assertive brush. She is not timid. The paintings by nature are edgy screaming with texture, bright color and raw energy; having weighty souls. Yet, in all this there are significant contradictions. Anna Belle is not just all bite, her paintings - Cry Baby, Ochre lambs, young woman and Rabbit in the Hat tell us otherwise. A counter-balancing compassion metes out hope and love for her neighbor. We are caught up in the story of her craft. She gets inside and breaks down our barriers.

Reviewed on Friday, May 15, 2009, by Victoria Donohoe, of the Philadelphia inquirer, Rabbit Years, Loeb’s maiden voyage, got noticeable attention:
http://www.philly.com/inquirer/local/pa/chester/20090515__Group_of_two__exhibit_together.html?text=reg&c=y c=y
“Although some contain recognizable images, they're more about the feeling in each that's experienced at some remove from nature, yet not really removed from it. Thus, they draw us in and carry us along, the best examples being authentically civilized experiences.”

Beyond all the rest, Anna Belle is a painter; loving discovery in the Studio, liking the paint as well as the medium. The paintings stand on their own; emotional and honest; a dynamic and pivotal pure body of work with significant historical significance. As the viewer, we are moved in and out of her soulful vignettes, a quick pace poking at us, the painting is assertive. Raw and intriguing, bold in their progressiveness, the paintings demand acknowledgement. Protesting as when she was an adolescent, the paintings march on the Washington DCs of our hearts crying out “Let freedom ring from every village and every hamlet...” She is masterful in her naiveté at getting us back to ground zero. She is relentless. She is a preacher.

Anna Belle Loeb

She’s got a lot on her Mind

6 November thru 30 November ‘09

Once is not enough!

2009-09-24T15:06:00.000-07:00

There are costs associated with being successful; the demands on our time and talents escalate exponentially. Don’t misunderstand me, I’m not complaining. It is great being in demand and acknowledged. Right about now, though, I’m thinking about the benefits of cloning. By the way, where are we in the debate to legitimize cloning?

It’s nice to believe that if we put something in we’ll get something back out; the larger the deposit the greater potential for a larger withdrawal. Teaching this concept to my daughter was a difficult task. “Daddy, if you don’t have any money, just go to the MAC machine and get some.” We all know there is so much more to the “deposit-withdrawal” equation. How we go about getting “it” so we can deposit “it” is truly what’s at issue here. Fundamentally, we must all ask, from whence commeth the substance of our deposits? Dealing art is risky; no risk-no reward. High risk - high yield.

The Knapp Gallery’s investment in Christopher Callahan is paying off with large dividends. Am I saying that taking on Chris Callahan was risky? No, but holding to my overall platform of supporting and promoting Philadelphia artists is. While, my competitors continue to show painters from New York, London and around the world, relying on an address to promote sales, I’m committed to my mission of promoting emerging Philadelphia talent; kudos by the way to Richard Rosenfeld, of The Rosenfeld Gallery who has a great show up by Philadelphia artist Richard Ranck, a Philadelphia Academy graduate. As a cog in a seemingly broken wheel, I’m paying my dues into resurrecting a worthy machine; a sustainable Philadelphia Art Community.

A nagging voice says “if you build it they will come.” And building we are. Suring up the old and laying new foundation, we a readying for a new improved edifice. In response to this visible effort, The Knapp Gallery has been written up by The Broad Street Review:

http://www.broadstreetreview.com/index.php/main/article/christopher_callahans_and_the_barnes_legacy

In my mind, however, this is but a taste of success. I am rarely satisfied, wanting so much more for my painters and Philadelphia. There are varying degrees of success. As a result, measuring success gets a bit tricky. Empirical data, the stuff one can count, beyond sales, the calls (both from in and out of state), queries, requests for additional information, is what I’m really talking about. The Callahan show has caused lot’s of buzz; so much so that we are extending the Callahan exhibit through October 31st. We will however be swapping out the remainder of the current show with an extensive look at his impressionistic work.

It is becoming readily apparent; I am not alone in my efforts to create awareness of the latent wealth found in Philadelphia’s art history and present day remnant. Known as the countries’ largest mural arts program, in my mind, diminishes the collective value of Philadelphia’s vast “high-end” art resources. Recently asked by a friend, from New York, "Why would the culture vultures turn their gaze to Philadelphia?" I’m compelled to respond; only briefly though. For starters, The Barnes Foundation, considered by many as the world’s greatest private collection of French impressionism and post-impressionism works, affords Philadelphia a significant place of notoriety. Beyond “the collection,” though lacking formal accreditation, the decades of Barnesian teaching distinguishes Philadelphia as a cultural center.

The truth be told, I’m not surprised by the overwhelming response to the Callahan exhibit. The stars were aligned; timing is everything. I stepped out on faith and followed up with my best efforts. Increased traffic and visibility necessitates a commensurate response. To accommodate the increased weekend “traffic”, Chris set up his easel and has been painting here at the gallery. The authenticity of Callahan’s art bolsters his resolve and creativity before an audience. He is neither intimidated nor is his stream of consciousness interrupted; he actually enjoys the conversation.

Looking around, I see a plethora of acknowledgeable work; it is not so simple isolating our mission from the hard and fast reality of making the rent. Fortunately, The Knapp Gallery owners share my vision of contributing towards a sustainable Philadelphia Art Community.

VIP King Confirms Callahan Collection

2009-09-11T12:36:00.000-07:00

All good things come to those that wait. A VIP visit from Nicholas King, former Executive Director of the Philadelphia based Barnes Foundation, validates The Knapp Gallery’s collection of Christopher Callahan’s paintings. The Barnes Foundation collection, considered by many as the world’s foremost private collection of impressionist and post impressionist paintings, includes 180 Renoirs, 69 Cezannes, 60 Matisses and 44 Picassos.

In the mid 70s, at the early age of 21, Callahan began working at the Barnes Foundation in a custodial capacity under Nicholas King, then Superintendent. Soon recognized as an artistic prodigy, Callahan became the protégé of now deceased and infamous former foundation Director, Violette de Mazia. During the mid nineties, after the death of Miss de Mazia, King having been appointed to the Directorship called Christopher back to the foundation as a docent lecturer! The extensive history/story of the Callahan - King - Barnes Foundation troika is book worthy. The overall influence of this history rings true throughout Callahan’s extensive body of work.

Having known Callahan in varied capacities, it’s been 10 years since Nicholas King has seen Christopher’s paintings. Thrilled at the direction and progression of Callahan’s work, King keenly isolated Chris’ most recent work. “This must be Chris’s latest work,” pointing to the lone untitled painting hanging on the back wall of the gallery. “It’s a thrill to see where he’s come in the past ten years.”

I’ve suggested a reunion between the two and asked if the gallery could facilitate. Before leaving, King signed the register; “Chris, very very proud of your work. Congratulation! “

Christopher Callahan’s paintings will hang until September 27th.

All Guns Down

2009-09-09T09:20:00.000-07:00

There is still talk of revolution. Each generation puts their twist on it. Ernesto and Gabrielle, present day road warriors remind us there is a lot more going on at street level than just exercising one’s right to free enterprise.

I first noticed him across the street on First Friday. He and his partner were selling jewelry out of their Ford Escort wagon. His chiseled Peruvian facial features and tussled black mane stood out amidst the crowd. Beyond that, my sixth sense detected more going on than what appeared on the surface. I watched a bit then went over to investigate. There were a few velvet covered boards of handcrafted earrings, necklaces, anklets and bracelets - unique stuff - marketable. Many stopped. They both worked on new designs as I poked around. I listened and watched. There was something refreshing about how they worked together. Amidst my second divorce, I’m sensitive to such things, wanting to experience the same for myself. They shared ideas on their designs pointing intimately to the others’ current work. With deftness, each wielded jeweler’s pliers.

I told them I worked across the street in the art gallery. We talked a bit about opportunity, free enterprise, and responsibility as citizens. Clearly, Ernesto liked that I engaged him. Excitedly, he preached of love, equality, a fair wage for a day’s work, collectivism. From Montreal, they were proponents of socialized medicine. We debated the pros and cons of capitalism, citizenship, misuse of power and our depraved nature as Homo sapiens. Ernesto was big on honesty and loyalty amongst brothers and lashed out at man’s propensity to abrogate their role in collective responsibility. Gabrielle came to life passionately espousing her position on a green economy; Pacha Mama – Mother Earth having only limited resources to sustain the creation.

Unencumbered by concern for means, living day to day out of their car, bending wire into jewelry, Ernesto and Gabrielle travel city to city. I could appreciate their journey, knowing myself the rigors of the road. If by chance you have forgotten what freedom looked like, this pair was art in action; walking art. I had been right; there was something about this guy and his gal. They were revolutionaries, itinerants preaching peace, unity and One Love.

Back in the gallery, I laughed to myself, thinking back on my days of radicalism. I didn’t realize how much I missed engaging at that level, being in that conversation. I was still hungry, I wanted more. I went back across the street and offered to make them dinner; they would think about it. An hour later Ernesto came back to see if the invite was for real; I prepared simple faire – fresh greens, red snapper over a Chinese noodles, seared broccoli florets with balsamic vinegar. Interestingly, as a young boy, even as an adult, I was often reprimanded for bringing strangers home for dinner. There is something about feeding the hungry. I once brought a homeless man home named Al Joseph Trueblood, an ex-felon. He stayed with me and my family for a week. My first wife, Valerie, was none too happy with this arrangement; our children were young, 3 and 5. My actions were considered reckless.

At 10:30, it became clear that it was too late to send the dynamic duo back out into the streets. I told them to spend the night in my bed. Gabrielle nearly cried out of joy. We talked well into the morning. Eventually the conversation turned to Communism. Ernesto was determined to convince me of what he considered the true meaning and ideal behind a communistic society. “Americans are brainwashed. True communism, the communism preached by che’Guevara, from the Cuban Revolution benefits us all. There is enough for all.” Passionately, as if life and the world depended on it, back and forth, like a tennis match, baseline to baseline, forehand to backhand, we voiced our positions; neither willing to let the other gain an inch. Gabrielle stretched across the bed enjoying the banter and the comfort of a dwelling.

Ernesto was an Idealist and I told him so. I reminded him of how many messengers of this same message had been killed. He didn’t bat an eye. “You can’t kill an idea! They can kill me, but my message will live on. They killed Malcolm X, Martin, Lennon and the Kennedy’s but their messages and ideals live on. I’m not afraid to die. I’m about peace and love. Love God above all things first and love your brothers and neighbors as you would love yourself.” And then he would raise his peace sign, always the peace sign.

The love between Ernesto and Gabrielle was clear. They wore each other like familiar garments. I envisioned them dying in each others’ arms, riddled with bullets having been hunted down by fundamentalist right wingers. I warned Ernesto that the American Capitalist would never lay down his weapon of choice. “We have exhausted our time of choice. The last minute comes soon! Like the spark of the revolution chasing after the powder, an awakening comes amidst the explosion. All will see that we must be one or we will perish as humankind; no unity - no life.” Like water over a waterfall, the oil of Ernesto’s poetry flowed never ending. I warned Gabrielle; against such charisma she was powerless. She only smiled that Gabrielle smile.

And then, in an instant, the light bulb of clarity shone brightly. I heard my own words – “lay down his weapon of choice.” Off and on, throughout the day and evening, I had wondered why these two had shown up, for what purpose had my Creator sent them across my path? I had only to be patient and remain open. It was clear; the appearance of Ernesto and Gabrielle was a reminder of what’s real and what’s not. Love and life is real. Choice is real. Art is real!

Back in February, Jon Eckel and I showed 23 paintings, in Princeton, New Jersey. Painted jointly as a collaboration, the body of work entitled All Guns Down, touted a message not too dissimilar from the one preached by che’Ernesto. Jon and I were convinced, we need only lay aside our weapons of defense, our selfishness, self interests, self indulgence and we could paint an epic body of work. This doctrine holds true across the board, in all venues, from government through to our personal relationships. Prioritizing a mutually beneficial goal, seeking the best interest of another and putting all available resources behind your efforts are paramount to a successful equation. Like the notion of equality, unity and oneness preached by che’Ernesto, All Guns Down, requires of humankind a higher way of being.

In October ’09 Jon moved temporarily from Philadelphia to Princeton. We had been given the use of a monster house to live in, with a carriage house in the back that served as our studio. For 3 1/2 months, we painted night and day; some days 14 and 16 hours. Throwing caution to the wind, we challenged ourselves to a higher order, painting beyond our comfort zones desiring a third emerging signature from our divergent painting styles; Jon a figurist - myself an abstractionist. We were two very different cats with a similar goal - wanting desperately to get to the finish line; like our very lives depended on it. That was the goal. Twenty three paintings later, we set our brushes down. When the dust settled, we knew we had stumbled on a truth: Prioritize the goal, set aside the differences and all things are possible.

In our collaboration exercise bridging generation and culture, we overcame age differences, ethnicity, differences in religion and demographics. Jon is a trained painter graduating from Tyler School of Art, myself an untrained outsider artist. Trusting the others commitment to the task, believing in all that is good, we were able to overcome the stumbling blocks that have historically shipwrecked the best altruistic efforts. There are no safety nets, no excuses and no short cuts, just the task at hand. There must be a point where our beliefs and convictions fuel the intent and purpose behind our actions. What are you willing to lay down for the greater good?

“The paintings writhe with vibrant jolts of color, line, texture, and bold restive figures. Intimate and provocative themes are by turns poignant, comical, dark and mysterious. Despite strong content and an “in your face” palette, the imagery is approachable and inviting. Musically, the paintings strike a complex, soulful and “saxy” note; with an aggressive tenor and persistent “bottom.” Overcoming initial concerns of clashing independent styles, melding form and abstraction, a confident and resolute harmony prevails; the two painters have become one in these paintings” Ebet Dudley, Writer-Critic

Click the link to see the remaining paintings http://www.knappgallery.com/artists-eckel-slocum.php

Christopher Callahan - For such a time as this

2009-08-28T13:27:00.000-07:00

The Knapp Gallery is excited about introducing Christopher Callahan in his first solo exhibition this coming “First Friday” Sept ’09.

We always hear about somebody who was in the right place at the right time, made the right investment and the story of their remarkable find. Every time we hear one of these stories we say “why doesn’t that happen to me” or “that not’s real.” Well, in my mind, I’m about to tell one of those stories. As my grandfather, Osceola Slocum, would have said, “Christopher Callahan is the real McCoy.” Well acquainted with good painters, I represent a couple of phenom artists that I believe will be recognized down through the corridor of time, namely Tom Brady and Jon Eckel. Today, this story is about Christopher Callahan, a painter from Narberth, PA. Beyond believing right place-right time, I believe I was meant/sent to be in a particular place at an appointed time.

It was a few months ago, I had closed the gallery. The door was locked. I was turning away with my bike, heading home. “Are you closed for the day?” a voice asked. “I’ve brought a friend downtown to see you. He has had a bit of a rough time and I’m trying to get him to engage.” Chris stood off to the side and was holding a book. From where I was standing, I could see the title said Christopher Callahan. I asked him if that was him. Nonchalantly, he said “yes.” I leaned my bike against the building, walked over and took the book out of his hands, flipped through about twenty pages and realized we needed to go back into the gallery and sit down.

Back inside, sitting at my desk, Chris shared about what he’d been going through. The loss of his stepson Asher had devastated him. Depressed and not painting, a friend’s love had bought him back out into the streets. I asked about his book, if he had brought it for me. “Oh no, this is the only copy. My sister had this book made for me as a Christmas present; she has always supported me in my painting.” I replied that knew a similar love of a sister. I became overwhelmed thinking back on my sister’s support. Tears welled up and ran down my cheeks. Chris responded in kind. It was in that moment that my relationship with Chris was sealed.

Looking more closely at the book it became clear that Callahan was the genuine article, a painter’s painter. His work showed a maturity, exacted remarkable freedom yet with a definitive direction. He evidenced diversity, painting form, figure and abstraction. Further subdivisions of his work included folk art, impressionism, and structuralism; I asked him what his plans and goals were. I asked him if I could visit him at his studio and see his work. Surprisingly, he said he would like that. A week later I called and we set a date and time.

Arriving at his home in Narberth, it was evident that Chris was in much better spirits. He was excited at having someone come to see him and his work; outside of family and a few select friends, I was a first. Inside his studio, on a table close by his easel, I saw a bible. Sharing our love for our Creator, we prayed, cried and thanked God for his presence and guidance. “I knew God would show up and reveal the right guy that I could trust to represent my work.” We agreed that our meeting was fortuitous and towards a greater end; not just for the two of us. I spent 5 hours looking at work and barely made a dent. “Karl, at the rate you’re going it will take a week to get through all the work!” Despite a second visit, I still haven’t gotten through all the work.

Christopher Callahan, 56, has been painting and drawing for nearly thirty-five years. Different than most painters, lacking trust in galleries and dealers, he has not sought representation. With the exception of his paintings posted on Flickr, he has never shown his work. A tradesman, Chris, has supported himself as a carpenter and electrician’s helper. He is a pensive man; economical with his words. Despite a soft spoken persona, Chris has a profound and settled presence. He talks little of his work believing good art should stand on its own, that a painter's experience is separate from the viewer. “What they walk away with is for them, my words shouldn’t influence their experience.”

How deep? Commitment deep.

2009-08-27T18:05:00.000-07:00

I am bicyclist, though not for my love of Spandex. You may have seen me riding downtown, out by the Art Museum, riding down Kelly Drive or out in Old City. By default, I’ve become a full-time committed commuter. However, there are drawbacks to this undertaking. I’ve made this commitment during comfortable summer months. Well aware of an imminent winter, I ready myself for the cold.

Pictured here is my riding/racing jersey. I am a novice racer. Having lost my mother to Lupus, I also ride/race to raise awareness about a debilitating disease that attacks all vital organs. Despite 50 years of research we still have no cure.

I started riding just 6 months ago. I made an investment in myself. One could also say I rewarded myself for having finally quit smoking cigarettes after having smoked for a gazillion years; I tried quitting numerous other times but with no success. . Wanting more from myself, from my will, I was not about the “patch.” I hate feeling weak, not in control. I’m not big on fitness, hating exercise; the gym is hell on earth. I attribute my physical conditioning to having lived an extremely active and physical life. That is another story for a different day.

Knowing my nature, prone to start smoking at first excuse, I invested in a health aid; the bicycle. The way I figured it, having spent the money, I’d be forced to honor the new direction, albeit heading towards fitness. No turning back now. Back in my thirties, I used to run but knee problems knocked me out of the game. I never enjoyed running, it was always boring to me; not enough to keep my mind occupied. I kept a fast pace to overcome the boredom. My five times a week running regime was 7 miles @ 7 minutes a mile. 49 minutes of hell. Let’s just get it done. Nobody wanted to run with me. Now, much later in the game, turning fifty, in September, I opted for bicycles over the remaining choices. So back in March, I had a bicycle made for me. I began riding when it was still very cold. At speed, with the sub-zero wind chill factors, it was brutal. I remember thinking about mid August and the heat. Out riding in 30 degree weather, your feet and hands freezing, one’s thoughts tend to go to the extreme.

Thawing out itself is a painful ordeal. I remember sitting in a gas station in Ringoes, NJ thinking my toes were frost bitten knowing I still had to turn around and head back. “Why was I doing this?’ This was lunacy. I reconciled it as “it’s all part of the investment.” Only a fool would pick up another cigarette, having endured this level of pain and suffering. But it is so much more than just about the cigarette. On the one hand it seemed crazy and obsessive that I was out riding in the extremes, towards what end? Albeit only a dusting, it had snowed that morning! To which cause was I committed, extreme cycling or non-smoking?

To a great degree I am at fault for my discomfort. Inappropriately dressed, I was unprepared for the weather conditions. A proponent of the tenets of relativity, I tend to apply wisdom across the board. How we faire amidst many of our commitments is about our state of preparedness. Like my frigid Ringoes ride, I was not well prepared in taking the Director’s chair here at the Knapp Gallery. Actually, at first offer, I declined the Directorship, stating the position was outside my scope of experience. Nine months later, Barclay Knapp, my friend, once patron, past employer and mentor, leaned in, looked over his eyeglasses and said, “I want and need you to move to Philadelphia and run my gallery. Karl, I believe in who you are not in your experience or lack thereof.” I moved to Philadelphia.

Expressed belief in somebody will carry them a long way; through a downturned economy, cold, wind and rain. It’s gonna have to as I commute to work this winter. In terms of Gallery preparedness, continued research, reading, poking, prodding and asking tons of questions keeps me fairly comfortable amidst the wind and wave of this sea of unfamiliarity. Beyond a sense of comfort, I’m exhausting every available avenue towards success; winning is the only option. Over time, The Boss has learned that I am a results oriented individual; that I stand in my commitments. He knows I will do whatever it takes to get the job done. I will deliver. My nature is to finish well in the things that I start.

On an ending note: Through research of a different kind, I have found a winter bicycle riding shoe that will keep my toes toasty. Though a bit pricy, they’ll be well worth the investment. Better gloves will help out at the other extremity.

Putting our best foot forward

2009-08-16T15:19:00.000-07:00

Necessity is the mother of invention. Who said that? Props to that cat. We do the best we can with what we have in the moment.

Feedback is a wonderful thing. Well, that’s if you care what others think, believe or care about. Feedback isn’t always about us. Through what others say about us, in their feedback, they are affirming who they are, their needs, that which is important to them. Translating feedback is a developed artform of mine. Dialogue is costly. It is the exception not the norm. Everybody that comes through the door of the gallery does not want to engage. Rare is the opportunity of being fully engaged with a “Walk-in”. Most of my conversations are with artists. Weekend walk-ins are different though. During the week, it’s a bit tougher to get with someone about the art.

When everything is right, when we meet someone that wants engage, there is perfection in the conversation; sharing how the painted image affects us. Rarely do I run into an enthusiasm level equal to my own. That’s okay. I know my place. I love when a visitor lets me run, like a rider giving the horse its head and letting him run flat out. On Saturday, I ran into a decent cat that was about the art.

He comes in with a friend and likes what he sees. “Do you have more?” he asks? Yes, I have more. Down in the basement he’s excited about being near the inventory. I can appreciate that. I am an inventory guy myself. I give him an impromptu show, pulling out paintings by the different artists I represent: Brady, Eckel , Callahan, Pappallas, Silvert, E.F. Halbert, Oechsli, Farrell… When we get to the paintings from Jon Eckel’s most recent show, he’s plugged in. Initially he had been looking for a Trip-tik; a three paneled painting. One by one I pulled out Jon’s last show. Quickly, I ran out of room downstairs and begin bringing them up into the Gallery. After adding eight 48” x 60” paintings into the gallery, things got a bit crowded, but we enjoyed a maze of sorts that was created; walking through the paintings standing on end had an eerie but enjoyable sensation to it.

The guy says he thrilled at my engagement. Said he hadn’t gotten similar hospitality in other galleries before making it to Knapp that day. Needless to say, I have mixed feelings about this comment.

So, collectively, as a group of Old City galleries, our joint report card, for that individual, was below par. A fast paced and bizarre ‘010 lifestyle doesn’t afford us many opportunities to build lasting relationships. Truth be known, art is about relationship. I’m just saying. Times are hard enough without having to fend off a bad "rep" to boot. We might want to put our best foot forward, engage and develop relationship within the community? The Art Community, a sub category within the community at large, provides a significant service. We are the vehicle through which culture is maintained; the portal through which your neighbor keeps rhythm with life. Today, I did not sell a painting. However, I did engage and hopefully planted the seeds of a lasting relationship, while possibly changing one person’s tainted perspective of “Old City” galleries.

Support our troops

2009-08-14T15:05:00.000-07:00

My job is about selling paintings. Making the rent is real. Galleries may offer a community service of sorts, but face it, like most business models the traditional art gallery business model is designed to make money. Gather art. Sell art. Art is a commodity. Making it, marketing it, selling it and trading it. This is an industry. We all participate in it at some level. Today, I’m talking about the buying end of it.

“I can’t afford to buy art, but I’m clear on something, I can’t be without it.” I hear this all the time. What am I supposed to do with that? One option I offer is to “become a painter.” I do encourage this. Many are exercising this option. There is a trend that I’ll call “Post Career Painting Syndrome. In addition to the young art students, the undergrads, graduates, the MFAers, apprentices, journeymen, itinerant painters, the accomplished, the mid-lifers are coming also. Everybody wants in. Informally, I review a minimum of 10 artists weekly. There is a traffic jam of artists wanting in.

Ryan Buffington, an MFA student at the Academy of Fine Arts, located here in Philadelphia, stands with an 8 foot painting he brought by the Gallery for me to see.

The laws of physics require an equal and opposite reaction to this significant influx of artists. Many are the called, but few are the chosen. Plain and simple, some players in this game are meant to be buyers; easy for me to say, right? These are not just idle or empty words. I’ve committed to buying the painters that I show. I will sell only that which I’m willing to buy. So, I’ve set out to acquire the work that I sell. Picking art for the gallery is different than buying one’s own art. On a low budget, I’m forced to prioritize and sacrifice. Now, as a buyer, I know all the reasons for not buying. I’m also developing a list of reasons why to buy.

With every acquisition, I feel the pinch. I’ve had to slow down a bit and find a suitable pace. I’ve set limits and goals. Presently, my max is $500.00 for any given painting. Now, with nearly 20 paintings under my belt, I’m not so impetuous. One must be careful; there is an adrenaline rush that goes along with buying art. I’ve made a few mistakes. I’ve had some surprises and good fortune as well. Being in the game avails us to good fortune.

A guy comes into the gallery wanting to sell me two medium sized framed pastels. The paintings were his mother’s from the 40s by an artist named Alfred Morang. He wants $400.00 for the pair. A quick look on-line I find out that Morang lived from 1901 to 1958. Born in Maine, he died in a fire in his studio in New Mexico. He was a member of the TAO and Santa Fe painters. Recorded sales at auction for oil paintings ranged from $5000.00 to $15,500.00. These were pastels; I offered $300.00 for the paintings, not that I could afford it. He hemmed a bit but eventually agreed. He followed me to the MAC Machine and the deal was done; so I thought. Online, back at the gallery, I searched Alfred Morang again. To my surprise,

there is more information than expected. Beyond that, I even find my two paintings, “Building the barn” and “feeding the chickens!”

Turns out they’ve been to auction, which means there is a pricing track record. A dozen and a half dealers advertise their representation of Santa Fe Painters including Alfred Moran. I contact them by email and say that I’m accepting offers. I get three to four replies. Now, what to do with the paintings? Do I keep them or sell them? I do have options. Being in the game also means you have options.

Options are about opportunity: Amidst a visit to Ashley Flynn’s studio, a local Philadelphia painter, it became clear my $500.00 was not going to get me very far; her work far too valuable and big. Then, I found a small box of small personal drawings. With tears rolling down my face, I picked out 10 small 8” x 11” watercolor/ink/charcoal/pastel intimate masterpieces on paper. We agreed to $50.00 each. She gave me 12 for believing in her work.

There is an undeniable satisfaction that comes with acquiring art. For me, beyond having great art around me at all times, much of being a collector is about the relationships I've created and nurtured with my artists; knowing I am supporting the local community and the life that created it. As a buyer, I am profoundly aware of those that have supported me in my making art over the years. Anne Williams and Antonio Elmaleh, have the largest collection of my paintings and furniture. They have been with me from the beginning. Conceivably, without their support early on in my career, I might not have made it here to the Director's Chair. “I love you guys.”

We never know the final effects of our actions. Casting no vote is still very much a casted vote. Unless we place a value on it, buying art makes no sense. Once it made sense, I was willing to do whatever it took to keep me in the game. I’ve re-prioritized and culled much from my life. Now, by supporting Philadelphia painters, I am supporting the local economy and participating in local Philadelphia history. Just for the record, here is a bit more sense in the form of a new trend. There are a number of New York City artists seeking gallery representation here in Philadelphia. This presents a new dynamic for Phgiladelphia painters. But, I'll address this another day.

Below, are three of my Ashley Flynn renderings.

Turning the corner.

2009-08-10T16:17:00.000-07:00

One never knows what’s lurking around a corner. Literally, at every turn, there exists the possibility of encountering a life altering experience. As humans, “meaning making machines,” our nature is to label and define these experiences, attempting to make sense out of them. Oftentimes, labels of good or bad are applied to such occurrences. In this, we tend to carry around a running tab of the good vs. the bad. Constantly weighing, falling short, we struggle to stay in the good zone.

Different than many, steering clear of such declarations, I reconcile my “corner turning” experiences as gifts and miracles from our Creator. Actually, I’ve come to expect these gifts of opportunities as a way of living. An integral part of my diet, I believe miracles have nutritional and life sustaining value. Speaking scientifically, there is an extra battery source stored way down deep within us, so deep that only a few people, doctors and scientists know of its existence. Recharging of this battery occurs only with the specific energy released amidst another miracle. Timing is everything. Consequently, few people ever experience the full affect of being plugged in.

In my reality, the words possibility and potential do not co-exist. Hear me out! I’m substantiating my use of the word miracle. Potential is based solely on an ability or capacity for something coming into being. For potential to exist, something else must first exist. Possibility requires nothing. My job here at Knapp is a result of possibility rather than potential, i.e. I met Barclay and Rebecca Knapp, owners of The Knapp Gallery, first as a carpenter in their home. Over time, conversation and golf, my position here in Old City was developed. I digress; this was not my intended destination. I have bigger fish to fry. I want to talk about a mind set and the power we appropriate with a change in perspective.

It can be as simple as “think it and it’s done.” My sister Lisa says I have the remarkable skill of thinking things into reality. To a degree she is correct; it’s a lot more than that. It may have begun when I was a child. Walking on a beach one day, I filled two pockets with smooth and colorful pebbles that I had found. Throughout the day I told everyone that would listen “these pebbles are going to turn into money.” I truly believed it. Later that night, I placed my pile of stones on my night stand and went to sleep. In the morning, I awoke to a pile of pennies, nickels and dimes. I ran through the house reminding everyone of my declaration. “I told you this was going to happen!” My brother Michael was livid. “He went out into the street and found a big ugly rock. Returning he said, “This rock is gonna turn into a dollar.” Needless to say, he was not successful in this endeavor. He lacked conviction.

Miracles can be remarkably personal and tailor made to the recipients needs. To these miracles, acts of intimacy, I ascribe greater value as they are demonstrative of the Creator’s love. Here is an account of one such miracle:

Liam Dean, a young red headed and energetic Philadelphian painter has been after me about going to see his art hanging at the Blink Gallery, a solid space about 8 blocks away. Liam had come here to the gallery a few times that week. We talked a lot about his work; we went online and looked at a few artists I was bringing on. He was excited about me seeing his work hang across the way. He had put in the shoe leather, I felt obliged to go. From what I had seen, he was aggressive, searching and “being” at the same time. He was hungry, talking about what it’s like out on Rittenhouse square trying to make something happen. This is what I hear and see down on 3rd. Street. At ground level, folk want in. And it’s already crowded in the pool. His show had come at a bad time for me. Work had been tough, with long hours. Sales had been few. I spent my days marketing: Offering a fair commission, I’ve been hard selling Private Art Dealers, Art Consultants and Interior Designers to buy from our inventory. On top of that, I was planning an upcoming event. I was tired -worn out.

Anyway, it is the end of the week, I’m exhausted wanting only to go home and sleep. Instead of taking the easy way out, I opt to make my way to Chestnut Street and climb the stairs to the Blink Gallery, Tor Chaikin’s fourth floor gallery space. Liam’s work hangs well, and I agree to purchase a piece titled “Underwater Cave;” a small piece for my own collection, a 24” square aggressive abstraction. I snack, talk a bit and head home. Down on the street I follow the sounds of a muted trumpet located at 3rd and Chestnut. I put some coins in the box and ask the musician to play me some Miles. I lean against the corner of the building close my eyes and get lost in the wafting notes. The trumpet stops and the guy says “I knew a guy looked just like you.” He blew a few more notes and paused, “his name was Karl” …few more notes, “he lived in Morristown, NJ. …few more notes “he had a girlfriend named Susan McDonald” ...notes “his father was a politician.” … How do you know me I blurted out? “Don’t you know me Karl, I’m Clint, you never forget the people that you love.”

Thirty-one years ago I did live in Morristown, NJ, my girlfriend was Susan McDonald, and to a degree, dad, a law Professor at Rutgers Law School, was involved in politics. Clint was a guy I met and knew through Susan. It is a miracle to me that in the middle of a Friday night in Philadelphia, on the busy corner of 3rd and Chestnut, a guy that I knew Thirty-one years earlier as a commercial “floor-Waxer” could pick me out of the crowd. And, I had hair back then. Back in Motown, Clint would sit under an over pass by the train station and blow his trumpet into the wee hours of the morning. The miracle of my meeting up with Clint is dramatically compounded in that just two weeks prior, I had told my son a story about Clint and his Clarke floor waxing machine. That wicked machine all but killed me one afternoon. Like in a cartoon gone bad, Clint’s Clarke dragged me around like I was a ragdoll puppet. Clint yelling from the distance just let go! Just let go! Eventually I did, leaving a wake of destruction.

Recently, I’ve had Clint come by and play at few events, including this past First Friday. On a different occasion, Clint played here during a live painting performance by Jon Eckel. http://www.youtube.com/watch?v=IP-qlB5zi6E .

All things are possible. Miracles keep it interesting. With great anticipation I go through my days turning over rocks, looking to see what treasures will be unveiled. I expect “out of the ordinary” to show up. I’m rarely disappointed. In this, I am well acquainted with success.

Without clearly defined parameters, measuring success can be a difficult thing. While success is already achieved by someone reading these words, know that I want so much more. I want remarkable and measurable change to occur within the Philadelphia Art Community. I want Philadelphia painters to make money on a painting. I want a greater acknowledgement of Philadelphia artists. I want the sustainable Philadelphia Art Community conversation to get much louder. I want the Philadelphia art scene to step into the light, out from the darkness of New York City’s shadow. I want the quality of Philadelphia art to climb higher and soar. Remember, I believe in miracles. Hey, I am all about the underdog. Truthfully, I do believe this to be a dynamic time. Considering the variables, I’m expecting dramatic things to occur.

It makes no sense. There is no money anywhere and Art schools continue to fill classes. “A” plus “B” does not equal “C.” and all that notwithstanding, young people are still enrolling in the art militia. With a promise of only “a hot and a cot” they still line up in droves to join the ranks. Economically, it seems impossible that we continue to create enough demand to support this level of supply.

Despite an unstable and slumbering economy, we continue to invest in a commodity with seemingly limited returns. Delving into art isn’t for the short distance runner. Faith and conviction are requisite in this religion. We are a peculiar people, those of us who are sustained by miracles. Based on present economic variables, strictly by the numbers, the Philadelphia Art Market struggles to survive with limited future growth potential. Thank goodness for the limitlessness of possibility. Hey, I know, it’s not enough just to count on the miracle, like Liam Dean, we have to apply the shoe leather principle, due diligence and self promote.

Oh, back to my pebble story. Much later on, I found out it was my mother that changed my pebbles for the coins. If my mom blessed me so wonderfully with coins, I believe for greater and more abundant things from my Creator. Now, I have a significant cache of remarkable paintings and I’m saying to everyone that will listen. These paintings are going to turn into relationships! One relationship and painting at a time.

Doug Webster, newest member of the Knapp Gallery Family has recently purchased “Red and Black” painted by Petros Pappalas. Petros is a young Philadelphia painter. I introduced Doug to Petros a while back when Petros first started the painting. Doug was smitten long before this painting was complete. Doug is a friend and an awesome guitarist. He loves art and is a modest collector, his collection including a few paintings by yours truly. I’ve known him for years. It was wonderful thing being able to fit him with the Pappalas painting.

First Friday "Two for One"

2009-08-05T22:44:00.000-07:00

Raised in Fairfield County, Connecticut, I hold a certain revere and disdain for New England. Albeit a love-hate relationship, it was home. Though, home has lots of meanings; knowing how you’ll be received suites for the time being. A Black youth growing up in lily white Redding, CT during the late 60’s and 70’s should be sufficient fodder for the imagination. With the exception of a few transient minority families, the Slocum’s, Michael, Karl and Lisa were it. To this quaint suburban community set so safely apart from reality, my siblings and I existed as the minority example, the embodying definition of “black.” Suffice it to say, I did my time and paid my dues. Aware of my surroundings, understanding my role, I made due. Graduating high school in 1977, I went far away to college.

I took notice of the return address when the mailman dropped off the package. I wasn’t fast to open the oversized envelope. I set it off to the side for a few days. Acknowledging my connection to the address stirred within me copious dormant memories. Unresolved and dark tendrils gripped at my heart. I was anxious. Hailing from New London, Connecticut, artist Brian Smith sought Philadelphia representation at the Knapp Gallery. Here I sat in the Director’s Chair thirty plus years later, seemingly cutoff from the past, yet Connecticut, like a hound dog chasing a rabbit, relentlessly pursued me. In an instant, I was transported, tumbling back through time and space. Opening Brian’s submittal was like going home, driving down familiar roads, reacquainting the sights and smells of my youth. To a degree, like the aroma of a mother’s cooking, I associated Brian’s imagery, palette and vision with going home.

Obviously, amidst my decision making to show the work or not, it was not enough that Brian’s art was from Connecticut. Certainly, serendipity has its place, but context is king. Contextually, Brian’s paintings speak volumes of their existence. A dream-like, rainy day nostalgic and melancholic chord permeates the drip laden and dark imagery. We are caught up in a waltz without meter, at first losing step while seeking then finding a distant and muffled rhythm. Bold yet raw imagery of form and figure are opposed by creation; each striking at conflict while gravitating towards harmony. Within this duality emerges a subtle tension that keeps us suspended; a long breath holding, the exhale acknowledging the moment. Brian’s images demand “buy-in”; a response. Justifiably so, good art should elicit a response. This response, good or bad, creates and cements our connection to a painting or an entire body of work. In the end, the rewards of our emotional and financial investments are substantiated by painters returning to studios and starting anew.

Coming up out from my slumber, a nostalgic driven sleep, I am remotely aware of my surroundings; though the sounds of Philadelphia quickly resolve my disorientation. Clarity comes; a coexisting past and present as the resolution to the riddle. How sublime, creating a singular vision from bi-polar realities. Putting meat to this bone was easy.

R. Michael Walsh, a veteran painter here at Knapp, needed a ride north to deliver a commissioned painting to Rebecca Knapp, the boss. It was her birthday and Walsh had been work diligently on a huge lion painting (48”x 84”) for nearly two months. Arriving at his apartment/studio Michael shows me another painting he’d been working on, this monstrous stained glass dip-tik 96”x 120” that all but comes to life and says “hey man I’m standing right here in front of you.” Anyway, Michael and I loaded the truck, battled wind and rain delivering his beast to the boss on time. Timing is everything.

Nearly 2 a.m., after the other guests had left, Walsh and I sat in the heated spa talking over a pending sale of one of his paintings. Reminded of the monster painting back at his studio, slowly, silently the plan, like a wind sail, began to unfurl its breadth in my mind. Catching the wind, I was carried away by the force of creation. By morning I was committed. It would be Smith and Walsh First Friday – “Two for one.”

Like Connecticut and Pennsylvania are light years apart, so too are Smith and Walsh bipolar in their approaches to their crafts. Walsh is meticulously fastidious in his process and delivery. And while one might expect a tightness to emerge from this dogmatic formula, the layering aesthetic of Walsh’s pensive and spiritually charged surrealist renderings evidence a freedom sought by many abstractionists.

“Recently my subject matter has become simplified to a combination of iconographic animals and symbols. I assign different roles through the representation of animals as humans, as spiritual idols, and the traditional use as submissive workers. They are depicted with human characteristics and emotions, particularly a passive sadness, for example: a longing pelican in search of companionship. Elephants and rhinos, which normally symbolize strength, are conversely depicted as soft and demure. I also juxtapose animals as idols with other material objects, which may represent deities.” R. Michael Walsh

Conclusively, a line of demarcation exists between my painters in style, process and presentation; almost as different species or races. Initially, I thought Smith would hang in the front with Walsh in the back. So accustomed to societal norms, we overlook the subtleties that encroach and govern our everyday environments and decision making. Reminded of my youthful struggles as ‘the odd kid out,” I cringed at having to accept and acquiesce to the normalcy of this traditional dividing and segregating of gallery space; so sedentary and predictable. Seeking the realization of emancipation, symbiosis even, I’ve decided on a side by side approach. Charged by the boss to “take risks,” I will step up to the plate and swing the bat of change.

This First Friday, the Knapp Gallery hangs “Two for one,” a unifying integration of process and presentation towards one end; freedom.

Clean your glass!

2009-08-02T14:47:00.000-07:00

Back in the day, I was a serious cigar smoker, smoking three to four cigars a day. Frequent smoking within the confines of my pickup truck rendered the windows translucent with an ashen film. Over time visibility became compromised. My daughter Karli, not one to hold her tongue, would berate me, “Daddy, you need to clean your glass! “ I would take exception just on GP, though ultimately grateful for the miracle of Windex and her reminder. Clarity is not to be taken for granted.

Renewed clarity has indefinable value. Numerous derivatives of the theological notion “tableau rasa,” a blank slate, level playing field, fresh beginnings, attest to this claim. Rid of our presumptions, expectations and the plethora of preconceptions that govern our perspective, we can embrace the totality of the blank slate. I’ve had lots of help keeping my glass clean. In fact, art, like Windex, has remarkable cleansing properties.

First Friday last, I hung a provocative show by Ashley Flynn. It was a defining moment for me. I was required to exercise choice. Had my glass been cloudy, I might have missed a “diamond in the rough” opportunity. No chance of that, Ashley’s work screamed and I heard it. It stood straight up and I embraced it; traditional Knapp Gallery art docile and pedestrian by comparison. The artist, a fourth year student at Moore College of Art and Design, was heralded by Philadelphia-based art critic, Libby Rosof, as unpredictable in the July 10th edition of her Blog “http://theartblog.org/2009/07/art-without-borders-ashley-flynn-at-knapp/ "Art without borders –Ashley Flynn at Knapp.“

Embracing the essence of unpredictability carries us out beyond our comfort zone and makes us vulnerable. Oftentimes, the translucence of our visibility is self-imposed as a defense against such undesirable states. Ashley’s art made us vulnerable. Yet in that exposed condition, the human condition, confronting our weakened nature, something happened, we found healing. In that healing, I have found freedom. How about you? Transparency has its rewards. The two-sidedness of cleaned glass is nothing to fear; nor should the gallery experience be.

So, while the collective we tend to be put off by many traditional gallery environs, find comfort knowing the Knapp Gallery, under new direction, is redefining the Contemporary Art experience. Okay, so I have a sense of drama about me. It’s clear to me; freedom affords us a renewed sense of appreciation for awe and excitement. I’ve taken off the blinders. I can see again! I’m blaming it on Karli; she got me to clean my glass. So to get the party started, I’m declaring today “National Glass Cleaning Day.” All in favor?

My Brother's Brushes

2009-07-30T00:41:00.000-07:00

The reality is death affects the living. My Brother Michael’s death from AIDS turned my life upside down. Like the first mark of an epic painting, I can trace my beginnings to a single significant event. While he was yet living, Michael gave me his paint brushes. Those brushes, Isabey-Specials, 6086, 6087 and 6088 made in France have long since been retired. Though I am still an Isabey patron, I have my own brushes now. Michael’s brushes served their purpose; his death was not in vain.

Lots of ground has been covered on the way to the Director’s chair. On the job training flavored with multiple side dishes of miracles might best describe my diet along the way. If predestination and providence co-exist, know that I have tasted of their fruit. Untrained as a painter, a divine hand has guided me through the darkness out into the light. To many, even to me, it’s a mystery how I’ve come to sit in the Director’s chair of a prominent Philadelphia Art Gallery.

Michael’s art was different than mine. He painted form and figure while I cut my teeth on abstraction. Finding voice apart from my brother’s was paramount to my journey. Yet in this exploration I found comfort knowing we had both trodden a similar path. Over time my “found” voice has been massaged, tempered and flavored with lots of help from others sent across my path. Interestingly, much of that voice was cultured long before I began my tenure as a painter.

Back in Bethel, Connecticut, I grew up around photography. My father did work with Edward Steichen. In the late seventies, in Piscataway, New Jersey, I studied photography under Nathan Farb http://www.nathanfarb.com/. Spot toning print blemishes in his “Russians” series taught me about attention to detail. And while I was still taking pictures in the mid to late eighties, in Trenton, New Jersey, I met Matt Baumgardner a magnificent painter on his way to the “show” in New York http://www.baumgardnerart.com/.

Unbeknownst to me, my friendship and relationship with Matt was nurturing a definitive painting voice as Michael’s heroic bout with HIV/AIDS was ushering him to the afterlife. Interestingly, Michael, on a final visit from New York to my Trenton home, got to meet Matt in his studio just across the street. Unlimited time in Matt’s studio, watching him paint and talking about his craft would pay multiple dividends. Looking back it becomes clear, by the time Michael’s brushes made it into my hands the underpinnings of a new career path had been set.