Dealing with Trauma through Art Making

Dealing with Trauma through Art Making

Dealing with Trauma through Art Making

a group juried exhibition


October 3, – October 29, 2014

         Artists talk and reception:

   Thursday, October 9, 2014 7-9 pm

Thirteen artists from across the US are exhibiting work that addresses the fact that the making of art images can have a therapeutic effect. Through image making an artist can release energy, explore inner thoughts and discover personal dimensions.

Exhibiting Artists: Jennifer Bell, Amanda Budreau, Kimberly Callas, Theresa DeSalvio, Rachel Elise, Colleen Fitzgerald, Mia Halton, Judith Hugentobler, George Lorio, Maria Lupo,  Nevin Price-Meader, Rahshia Sawyer, Hannah Sheridan.

 

 

Hugentobler_Perched Bird Mass

Hugentobler

Sheridan_The_Couple

Sheridan

Sawyer-SomeThingsICantExplain003

Sawyer

Price-Meader_ALostMan#1

Price-Meader

Fitzgerald_Focus

Fitzgerald

Lorio_Memory

Lorio

Elise_Night Forms Twelve

Elise

Callas_Sun_Night

Callas

Bell_Self-Portrait MRI (4)

Bell

DeSalvio 14 Radiation DSC_0980

DeSalvio

Budreau_Shoes

Budreau

2_Halton_2Bullies

Halton

1.Lupo_Breathless Glitter_

Lupo

Connections – a group exhibition

wcaconnections 2014v use

Connections, a group exhibition by members of the Women’s Caucus for Art, Philadelphia Chapter, will run from September 3 – 29, 2014. The Artists talk and reception is Tuesday, September 9, 6 – 8 pm.
This exhibition of seven artists explores the connections between the personal and the political, the present and the past, and the human form and the natural world.
Rosalind Bloom connects past and present through her collages referencing Leonardo da Vinci, Cezanne and Duchamp, while Jude Lang considers childhood memories, giving them both personal and communal significance. Laura Petrovich-Cheney and Kristin Osgood Lamelas concern themselves with the landscape from the vantage point of their own bodies: one through the lens of a camera with an eye towards environmental responsibility and the other through her (and her husband’s) own biological cells, maps, paint and wood.
Simone Spicer also exhibits concern for the natural environment through her choice of sculptural materials—discarded cardboard and plastic milk jugs—and ties that aesthetic to the human form. Claire Giblin utilizes mapping as well, her abstracted figurative paintings acting as documentation of her wanderings through ancestral history. Finally, Virginia Maksymowicz’s hand-colored prints tie together the physical and metaphorical; they look at the literal incorporation of women’s bodies into the structure of fountains, and the connotations inherent in using those figures to facilitate the flow of water.

  ROSALIND BLOOM _ 1

ROSALIND BLOOM _ 2

ROSALIND BLOOM _ 3

JudeLang_1 JudeLang_31

PETROVICH-CHENEY_ 03_Where is the snow PETROVICH-CHENEY_01_Beekeeper

OSGOOD LAMELAS_Time Capsule Series August 19 La Boda use

Spicer_1

Spicer_3_Street Person l

CLAIREGIBLIN_2_MadonnadelaRoccia

CLAIREGIBLIN_1_bloodofmyblood

Maksymowicz_1 Maksymowicz_2 Maksymowicz_3

Free Spirit artworks by Janet Mackiewicz

OWL

 

Holy Family University Art Gallery

presents

Senior Student Art Exhibition

Free Spirit

artworks by

Janet Mackiewicz

 Exhibition dates: April 15–August 15, 2014

Artists Reception: Tuesday, April 22, 2014 6:00 – 8:00 PM

 

Artistic Statement

 Mackiewicz, Observations, Perceptions, Nature and the Artist

“For, verily, art is embedded in nature; whoever can draw her out, has her” [Durer as quoted in Scott (2010)]. In nature, the masteries of camouflage evolved. Observers perceive more than one image within nature, creating ambiguity and cognitive confusion (Todd, 2009). Artists have created unique and alternating perceptions based on the natural laws and attributes of camouflage. As early as the Renaissance, Durer recognized the relationship between art and nature’s lines, colors, and patterns. A post-Durer and contemporary artist, whose work created camouflaged images and/or visual ambiguity by rendering his thoughtful perceptions and interpretations of nature’s light, colors, textures, lines, and forms, included Abbott Thayer. Today, artist Walton Ford combines the camouflage mastery, detailed renderings of nature’s lines, colors and patterns in order to create a newer statement about ambiguity and confusion. That message includes social and ethical considerations about science, nature, the environment, and man’s choices.

Just as the observation, perceptions, and artistic renderings of nature have evolved, so has scientific and environmental research.   Only recently, the cuttlefish, a deep-sea creature, was discovered in a NOVA video, practicing shape shifting as a camouflage tactic to approach prey and/or avoid a predator (http://www.pbs.org/wgbh/nova/camo/change.html http://www.pbs.org/wgbh/nova/nature/anatomy-cuttlefish.html PBS video). As evidenced by this recent discovery, nature, with its unique and varied lines, colors, patterns, and camouflage patterns, continues to evolve. Or, could it be that nature and all its attributes and designs were always there?   Could it be that artists and scientists, with their evolved sensitivities and evolved critical eye, are noticing more and presenting their insights and discoveries to the world? As science matures and learns more about nature, the artist synthesizes the science discoveries through his or her artistic perceptions, talents, and skill. As science publishes their research and imagery about the natural world; art is influenced and exhibits its interpreted perceptions and imagery about nature. In the future both disciplines may inspire each other and keep each other in balance.

 

 

That’s Life artworks by Katelynn Donahue

sellebodyimage

Holy Family University Art Gallery

presents

Senior Graphic Design Student Art Exhibition

 

That’s Life

artworks by

 

Katelynn Donahue

Exhibition dates: April 2 –April 13, 2014

Artists Reception: Tuesday, April 8, 2014 6:00 – 8:00 PM

  Artistic Statement

When I first got into art I was very passionate about preserving pure art. I was not a fan of technology mixing with real, organic art (i.e. painting, sculpture and drawing). I felt that what I thought was the formula for art should not be tampered with. Art was not meant to be as easy as clicking a few buttons; I believed that part of its process was to challenge the artist by using their own skill. In the past seven years I have learned that technology cannot diffuse art, it can only enhance it.

Technology and art making work together. The printing press was one of the most important inventions for art. The printing press not only gave the people a real source of news and information, it moved printmaking to the forefront. Photography has not diminished the act of painting; often artists paint from pictures. Photography is regarded as a beloved art form, proving that technique and skill are involved. With such software as Photoshop or Illustrator much of the work is made easier by clicking a few buttons, however much of what is used in Graphic Design comes from what is taught in the first classes we take, drawing, painting and sculpture. It is not necessary to have had these classes before using the software, but it does make a difference. The knowledge gained from art history and drawing from the model is no where found in any software.

Technology and art can and should mix. Proof of that is seen in works of graphic design artists, printmakers, and even installation artists.

My work in graphic design illustrates that through proper knowledge of art, the ability to use different mediums, and a regard for art history, graphic design should most definitely be regarded as an art form. It is all a part of the evolution of art.

 

 

Telling Stories Sculptures by Joe Brenman

LIVORNO

March 11-31, 2014

Reception and Artist Gallery Talk:

Tuesday, March 18, 2014, 6:00PM–8:00PM

 

Joe is an artist who finds inspiration in varied mediums. “I work in many materials including clay, paper, glass, bronze, wood and stone, and all these materials speak to me in their own way.” Taking a trip to Brenman’s North Philadelphia studio, you’ll find that his language of art is very much present and expressed. The studio is filled with sculptures of wood, clay and bronze, bright

collages, and a courtyard filled with mosaic murals and large sculptures.

His current show at Holy Family University features his life size wood sculptures. Brenman says, “I like to work in wood as its intrinsic beauty captures my imagination and brings out my desire to find the pure and simple form in my sculptures. “The sculpture, Livorno is reminiscent of the artist Amodeo Modigliani.

These features of the face meld into the long and curved body that is both undulating and symmetrical, with each section defined and distinct as its own form. The color, texture and grain of the wood are prominent and are an essential focus of the sculpture. The other sculptures featured in this show are influenced by ancestral spirit figures from Africa and Papua, New Guinea, but ultimately the stories they tell are what the viewer brings to them.

Joe Brenman graduated from The Pennsylvania Academy of the Fine Arts in 1978. His sculptures are in many private collections and have been exhibited in numerous one person and group shows. He is recipient of the National Endowment for the Arts grant, two Mid Atlantic Arts Foundation grants, and his commissioned work includes Septa’s Art In Transit, an installation in Los Anonas, El Salvador, and mosaic murals for the Germantown Jewish Center and Bar Ferdinand in Philadelphia. In 2010, he was commissioned to create an on-site, large scale marble sculpture in Phu Tho Province in Viet Nam entitled New Life. His work is currently on view at The African American Museum in Philadelphia

And The Pennsylvania Academy of the Fine Arts. http://www.joebrenman.com/

All the Remnants Works on Paper by Jennifer D. Anderson

Anderson06

All the Remnants

Works on Paper

by

Jennifer D. Anderson

 

February 4th through February 26th, 2014

Reception and Artist Gallery Talk:
Tuesday 2/11 6-8 pm

 

Labor-intensive obsessions fill Jennifer D Anderson’s studio practice. She meticulously cuts paper, wood and metal to create work that reflects on life’s vulnerable nature with a gentle assertion of memory. These pieces have been exhibited in venues across the United States and abroad as well as in publications as diverse as Tricycle and The Carolina Quarterly. Recent exhibitions of her work include the (e)merge art fair and solo exhibitions at Bradley University and Whittier College. Anderson is also an educator who has worked with institutions such as the J. Paul Getty Museum. Currently she is an associate professor of studio art at Hollins University. She is past president of the Los Angeles Printmaking Society and Vice President of External Affairs for SGCI. Her essay “Print University” was published in Proof: the Rise of Printmaking in Southern California.

Void: Photographs by Sung S. Kim

VOID_SungSooKim

Sung S. Kim

VOID

January 9 – January 29, 2014

Artist’s Reception

Tuesday, January 14, 6:00pm – 8:00pm

Holy Family University Art Gallery is pleased to announce VOID, an exhibition of color photographs by Sung S. Kim. The exhibition opens on Thursday, January 9 and will be on view through Wednesday, January 29. An artist’s reception will be held on Tuesday, January 14 from 6:00pm – 8:00pm. This will be Sung S. Kim’s first exhibition with the gallery and his second solo exhibition in the United States.

VOID depicts the scripture of Mark 8:34, “If anyone wishes to come after me, he must deny himself, and take up his cross and follow Me.”  Kim practices the action of denying himself by simulating to ‘VOID’ himself as he goes into the trash bag. He also actually throws away his recent art works, which symbolizes parts of him. Each work is thrown away as a test in faith and letting go of his pride, greed and things of this earth.

Sung S. Kim’s work has been exhibited at Doosan Gallery New York, Forum Gallery at Cranbrook Academy of Art, Dukwon Gallery, Seoul; Sun Contemporary Gallery, Seoul; Palace of Arts, Cairo; and Tijuana Cultural Center, Tijuana, among others. His work is included in collections of the Korea Cultural Center, Seoul; Embassy of the Republic of Bulgaria, Seoul; Korea Foundation, Seoul; Institute of Foreign Affairs and National Security, Ministry of Foreign Affairs and Trade, Seoul. Sung S. Kim was born in 1975 in Seoul, Korea, and studied at The School of The Art Institute of Chicago. He lives and works in Fort Lee, NJ.

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