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@insidepafa
PAFA alumnus and international filmmaker David Lynch produced an exclusive trailer for PAFA’s upcoming David Lynch: The Unified Field exhibition, on view September 13, 2014 – January 11, 2015. View the trailer here and follow along on social media using #PAFADavidLynch.
Happy Birthday to PAFA Alumna Mary Cassatt, born on this day in 1844!
Pictured:
Young Thomas and his Mother, 1893Bacchante, 1872The Barefooted Child, 1898 Smiling Sara in a Big Hat Holding her Dog, 1901 Baby on Mother's Arm, 1891
THE ROAD TO ASE: FERNANDO L. DEJESUS (Cert. ’15)
With the 113th Annual Student Exhibition (ASE) now open, we spent some time catching up with ROAD TO ASE Artist Fernando DeJesus (Cert. '15).
How did you decide which works to include in your ASE wall?
In the beginning of the year I gave myself a theme to work off of. All my work in the ASE was based on it.
How does installation process work?
First of all, I want to point out that the energy of the galleries during this time is amazing! We are responsible for bringing in our pieces and installing them in our space. We are supplied with the tools, and are expected to get to work. The whole process is truly an education in itself.
Does anyone help you with your installation?
There are teachers and students walking around to give you a helping hand if needed.
Which instructor has been most influential on our ASE work and why?
Well, my wall is an accumulation of what I learned from all my teachers here at PAFA. It’s funny, I could probably tell you the exact moment I heard a specific teacher’s or critic’s voice throughout my process of working. This is the perfect time to thank them all.
THE ROAD TO ASE: Meg Wolensky (BFA ’14)
With the opening of the 113th Annual Student Exhibition (ASE) this Friday, May 9, we spent some time catching up with ROAD TO ASE Artist Meg Wolesnsky (BFA '14).
How did you decide which works to include in your ASE wall?
I picked the pieces that went on my ASE wall after months of arranging them in my studio and deciding on a kind of narrative logic that ran through all of them. I made various clusters of images and decided that, ultimately, I wanted my wall to be formatted to accommodate different sizes and particular subject matter. And I tied my work together using matching, non-obstructive white floater frames.
How does installation process work?
After framing the majority of my work, I decided what pieces I would be showing, leaving a few in my studio on reserve as options for later. Then I brought all my selected work to my assigned place in the galleries. I chose 21 pieces to go on the wall. I laid them all down on the floor and arranged them to fit in the 10'x17' space I was given. I decided on a final composition of images, attached hanging hardware, and figured out the math of the spacing so I could start installing.
Does anyone help you with your installation?
Yes, absolutely! ASE coordinators Brian Boutwell and Michael Gallagher are always in the galleries to help students, as well as teachers and critics. If I ever had a question about how to hang a piece or a concern about the composition of my layout, there was always someone there to help me. And I had a lot of questions!
Which instructor has been most influential on your ASE work and why?
I think all of the critics I had this year made a collectively substantial impact on the work I chose to show at ASE. Jan Baltzell and Bill Scott guided me through my paintings this year, helping me pursue my strengths, work on my weaknesses, and seek new information via painting. Astrid Bowlby and Jodi Pinto were phenomenal when it came to discussing the logistics of installation art and technological aspect of video art. Also, I remember being told by graduating Certificate student, Christian Platt, that "Bill Scott is essential," which now I realize was true of all my critics. Picking critics is hard, has real impact on your work, and is completely worth it.
10 days left to submit your application to VOX X: Present Tense!
Vox Populi is happy to announce an open call for VOX X: Present Tense - our tenth annual juried exhibition of emerging artists, which will take place July 11th- August 1st 2014. The deadline for submissions is May 15,...
THE ROAD TO ASE: Tiffany Tate (MFA ’14)
With the 113th Annual Student Exhibition (ASE) just around the corner, we spent some time catching up with ROAD TO ASE Artist Tiffany Tate (MFA ’14).
How does installation process work?
I took more pieces than I needed to the gallery to begin. First, I pulled the few pieces that I knew I wanted to show from the pile and from there I tried a number of configurations with various smaller pieces accompanying them, considering transitions and the overall composition of the wall. My work is a bit installation and collage-like in general, so a lot of the making is still happening in the gallery. Different relationships are being formed, which necessitates new components that hadn’t been considered before in the studio. There’s a lot of blue tape, picture taking and ladder climbing going on, and I like to take my shoes off and live with the work for a little while in its new space. I re-printed things at different sizes, tried them mounted, and played a lot with scale and spatial relationships through repeating forms and utilizing every inch available to me on both the floor and the walls. I arranged things a few different times, and it’s always nice to come in the next morning and view that configuration fresh, as if you were the viewer wandering through.
Does anyone help you with your installation? During the installation process there is a constant flow of both my peers and professors in and out of the gallery. People are always stopping to chat and offer a hand to help position something. An extra set of eyes and a fresh perspective is always helpful, but mostly it’s just me sitting on the floor and staring at my work. I don’t like too many voices. I started early so I could move slowly, experiment, and spend a lot of time in the space with the objects, thinking about how I wanted to present them not only individually, but as a unified installation. I’ve learned that although ample feedback is helpful, in the end, I just have to trust myself.
Which instructor has been most influential on our ASE work and why?
The most influential instructor for me has been Mark Blavat. Our conversations always leave me with a feeling reminiscent of just remembering everything that’s important to me in my work and, consequently, in my life. I feel that way most of the time, that it’s more about remembering than learning, even though they’re intertwined. The piece that was the catalyst for the whole installation was born of impulse and imagination -- two things that I never felt were valid in my art until we started working together. Working with him taught me how to give myself permission and trust myself and my way of sharing. I took more risks, and as a result, I feel like I have made a much more felt body of work that truly represents myself because of what he shared, which centered around learning to look again and being still.
THE ROAD TO ASE: LAUREN PELLERITO (BFA ’14)
With the 113th Annual Student Exhibition (ASE) just around the corner, we spent some time catching up with ROAD TO ASE Artist Lauren Pellerito (BFA ‘14).
How did you decide which works to include in your ASE wall?
For the ASE I chose to exhibit only one piece. Putting up one piece allows me to avoid a cluttered wall space and it also gives the piece the space that it requires to be observed. One reason I think this is necessary is that the piece activates the space of a corner and is relatively site specific. It is important for the piece’s relationship to the corner to be unobstructed by other works on the wall. Finally, this piece has been the main focus of my work this year in my studio. Having this piece as the sole focus of my wall is reflective of the personal significance that the piece has had for me this year and in my studio practice.
How does the installation process work?
Figuring out how to move and install a fragile 10’x6’ sculpture that is held together by compression from a corner’s walls was an interesting problem that had to be accounted for during the building process. The sculpture was built in three different rooms for this reason. To make installation run as smoothly as possible, a steel truss system was built on wheels that secured the brackets in their place and stabilized the sculpture to be moved. The sculpture was then wheeled from the sculpture department, through the service elevator, and into the gallery. It was then pushed flush into the corner and attached to the wall. The truss system was then detached and the sculpture was free hanging between the walls in the corner of the gallery.
Does anyone help you with your installation?
To install the piece it only required two people -- one person on each end of the sculpture to wheel it through the hallways and gallery space. PAFA staff member Brian Boutwell, who coordinates the ASE and is wholly invested in student needs, helped me bring the piece to the gallery. Most of the help that I received for installation occurred before I installed to figure out the simplest method of transport with the shop managers at PAFA.
Which instructor has been most influential on our ASE work and why?
PAFA’s sculpture shop managers, Ann Klicka and John Greig, were instrumental in helping me understand how to build this project. Working with plexi-glass in an untraditional way as a structural element without having experience with plexi-glass before was challenging. Ann and John helped me solve a variety of structural concerns. Having their advice and opinions made me feel confident to proceed with the project and confident to push the material. The sculpture shop is a great resource at PAFA, and the staff members within it are great people who are helpful, knowledgeable, and encouraging. Also influential were the critics in my final semester: Jody Pinto, Astrid Bowlby, and Garry Weisman, who all helped me to develop the piece conceptually and make unexpected connections in my work.
THE ROAD TO ASE: Jude Martin (Cert. & BFA ‘14)
With the 113th Annual Student Exhibition (ASE) just around the corner, we spent some time catching up with ROAD TO ASE Artist Jude Martin (Cert. & BFA ‘14).
How did you decide which works to include in your ASE wall?
I decide which pieces to show based on “survival of the fittest.” I may have a strong painting, but if it doesn't fit in the context of my body of work, I won't hang it in the ASE.
How does installation process work?
The installation process can be quite simple. For me, I go to the gallery with my work, measure out my wall space and then arrange my art on the floor so I can get an idea of how things will look on the wall. Then, I take measurements, translate them to the wall, and start hanging the pieces.
Does anyone help you with your installation?
At this point, you really have to help yourself. Faculty help is limited, as they'll be helping students with hard-to-handle or complicated installations. But the students have each other, and they're all mostly willing to lend a hand if they can.
Which instructor has been most influential on our ASE work and why?
There isn't just one particular teacher whom I can give credit to having the most influence on my ASE work. It was the whole PAFA experience. All the teachers and students here have greatly influenced me.
The countdown to the 113th Annual Student Exhibition (ASE) continues! Spring Prize submissions took place today – just two weeks now until opening night! May 9 – June 1, 2014.
PAFA is thrilled to present DAVID LYNCH: THE UNIFIED FIELD, the first major U.S. museum exhibition of eminent filmmaker and PAFA alumnus, David Lynch, on view September 13, 2014 – January 11, 2015.
The Unified Field will feature approximately 90 paintings and drawings from 1965 to the present, many of which have rarely been seen in public. Included will be a section exploring his early work and its origins in Philadelphia (1965-70), which was a critical time in Lynch‘s creative development. Learn more here.
Above:
I Burn Pinecone, 2009, Mixed media on cardboard, 72 x 108 in. Galerie Karl Pfefferle, Munich, Germany
Woman with Screaming Head, 1968, Acrylic on canvas, 66 x 60 in. Private Collection
All I Want for Christmas is My Two Front Teeth, 2012, Watercolor on paper, 20 3/4 x 29 1/2 in. Kayne Griffin Corcoran Gallery, Los Angeles, CA
A taste of what’s to come during PAFA in Bloom!
Bill Schaffer and Kristine Kratt of Schaffer Designs came by to install a beautiful floral design in the lobby of PAFA’s Historic Landmark Building to give guest a sneak peek of the art-inspired designs that’ll be on view throughout the Museum during PAFA In Bloom, April 4–6. Be sure to stop by and welcome spring with us!
An amazing set of masterpieces from PAFA’s collection are serving as inspiration for the 60+ floral designs on view during PAFA IN BLOOM, April 4–6. Art and flower enthusiasts – you won’t want to miss this!
Above:
"Christ Rejected" (1814) by Benjamin West (1738-1820) http://ow.ly/uQ9Bp
"Penn's Treaty with the Indians" (1771) by Benjamin West (1738-1820) http://ow.ly/uQ9pt
"Fantasie" (1883) by Charles Sprague Pearce (1851-1914) http://ow.ly/uQ9HF
"Fox Hunt" (1893) by Winslow Homer (1836-1910) http://ow.ly/uQ9O8
"Walt Whitman" (1887) by Thomas Eakins (1844-1916) http://ow.ly/uQ9VB
"Young America" (1950) by Andrew Wyeth (1917-2009) http://ow.ly/uQa08
"Ruth St. Denis in the Peacock Dance" (1919) by Robert Henri (1865-1929) http://ow.ly/uQa7M
"The Peaceable Kingdom " (1883) by Edward Hicks (1780-1849) http://ow.ly/uQafL
MURAL MONDAY
In conjunction with the special exhibition, Beyond the Paint: Philadelphia's Mural Arts, we present MURAL MONDAY! Today we highlight “Family Interrupted” by Eric Okdeh. This City of Philadelphia Mural Arts Program mural is located at 709 W. Dauphin St.
An amazing set of masterpieces from PAFA’s collection are serving as inspiration for the 60+ floral designs on view during PAFA IN BLOOM, April 4–6. Art and flower enthusiasts – you won’t want to miss this!
Above:
"Fox Hunt" (1893) by Winslow Homer (1836-1910) http://ow.ly/uQ9O8
"Penn's Treaty with the Indians" (1771) by Benjamin West (1738-1820) http://ow.ly/uQ9pt
"Fantasie" (1883) by Charles Sprague Pearce (1851-1914) http://ow.ly/uQ9HF
"Christ Rejected" (1814) by Benjamin West (1738-1820) http://ow.ly/uQ9Bp
"Walt Whitman" (1887) by Thomas Eakins (1844-1916) http://ow.ly/uQ9VB
"Young America" (1950) by Andrew Wyeth (1917-2009) http://ow.ly/uQa08
"Ruth St. Denis in the Peacock Dance" (1919) by Robert Henri (1865-1929) http://ow.ly/uQa7M
"The Peaceable Kingdom " (1883) by Edward Hicks (1780-1849) http://ow.ly/uQafL
FLORAL FRIDAY
In conjunction with the special exhibition, PAFA In Bloom, we present FLORAL FRIDAY! Today designer Valerie McLaughlin shares how Benjamin West’s “Penn’s Treaty with the Indians” is inspiring her floral design.
“Very excited to be participating in the Pennsylvania Academy of the Fine Arts first PAFA in Bloom project. I am interpreting Penn’s Treaty with the Indians with a hand tied flower arrangement in harmonious peach and coppery hues to represent Penn’s verbal agreement with the Lenni Lenape tribe.”
--Valerie McLaughlin
MURAL MONDAY
In conjunction with the special exhibition, Beyond the Paint: Philadelphia's Mural Arts, we present MURAL MONDAY! Today we highlight A Place to Call Home by Ernel Martinez, Damon Reaves and Shira Walinsky. This City of Philadelphia Mural Arts Program mural is located at 3828 Melon St.
THE ROAD TO ASE: Meg Wolensky (BFA ’14)
Open Studio Night is an important marker on the road to the Annual Student Exhibition (ASE). For many students, Open Studio Night offers an opportunity to practice talking to the public about their work, and a chance for the public to get a sneak peek at what’s brewing in the studio of tomorrow’s art stars. As part of our Road to ASE series, we ask our six featured students about their experiences with Open Studio Night.
What does Open Studio Night mean to you? Open Studio Night is a chance for the public to come into our studios and see what we've been working on before we show in the ASE. Personally, I'm looking forward to talking to the people who stop by because I'll get to practice talking about my work to other artists and non-artists alike.
How do you prepare for Open Studio Night? Well, first of all I clean. Usually my studio is set up with just enough space for me and one critic to squeeze in. I arrange the studio so that finished works and several in-progress pieces are visible. The studio isn't meant to look like a pristine gallery space and the public usually seems intrigued by the process of art-making, so I will probably leave my palette and several other materials out.
Will any of your works from Open Studio Night be part of your wall in ASE? Yes! Most, if not all, of the pieces in my studio will probably be part of my ASE wall. Although I'm considering showing a video piece in one of the installation rooms during Open Studio Night as well.
What’s most exciting about Open Studio Night? Open Studio Night is a major meet-and-greet between artist and audience that happens to take place on the artist's turf. There's so much more for the audience to see and take part in during Open Studio Night than there would ever be during a normal show in a gallery. By entering the artists' studio, you allow yourself to be completely immersed in an artistic practice and converse about some of the conceptual grounding of the work.
