This blog is here to help jump start the conversation for our seminar. I will ask that discussion questions and comments be posted on line by 5pm the night before class. We will also use this site to plan the newsletter that will be produced as part of the course.
Worth (us) reading because 1. It's a critical assessment of possible trends within a large group of local emerging artists. She made several notes about the well-crafted nature of the work shown... I'm curious if there was an opposite observation made in the past.
2. I like this sentence:"The show’s humanist focus, fractured narratives and 'damn the torpedoes' ambiance aren’t new."
3. For you ceramicists: "There’s a surprising amount of clay in the show, and the artists handle it like clay has always belonged in the big leagues—the content here is not the usual kitsch, but conceptual, unexpected and beautiful. Nicole De Brabandere’s small objects in a glass vitrine are nonfunctional, but look like Baroque sex toys. Katelyn Greth’s soulful “Dog Boy” and “Sheep Boy” ride a sad “Animals R Us” edge. Janet Macpherson’s altered cast clay figurines play with our love of collectibles. Lauren Dombrowiak’s Brancusi-esque cityscape of stacked plates and cups is perfect domestic machismo—I wonder why I haven’t seen anything like it before." It seems like ceramics is becoming a big part of Philadelphia art (yes?). The Dirt on Delight, the Clay Studio, and NSECA have made me think more about ceramics in the last year or so. Roberta Fallon seeing that in the new artist zone and writing about it seems like a good thing.
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I haven't seen the show. In your opinion, what made this review "worth reading"? Just curious.
ReplyDeleteComma splice in the first paragraph.
ReplyDeleteWorth (us) reading because
ReplyDelete1. It's a critical assessment of possible trends within a large group of local emerging artists. She made several notes about the well-crafted nature of the work shown... I'm curious if there was an opposite observation made in the past.
2. I like this sentence:"The show’s humanist focus, fractured narratives and 'damn the torpedoes' ambiance aren’t new."
3. For you ceramicists: "There’s a surprising amount of clay in the show, and the artists handle it like clay has always belonged in the big leagues—the content here is not the usual kitsch, but conceptual, unexpected and beautiful. Nicole De Brabandere’s small objects in a glass vitrine are nonfunctional, but look like Baroque sex toys. Katelyn Greth’s soulful “Dog Boy” and “Sheep Boy” ride a sad “Animals R Us” edge. Janet Macpherson’s altered cast clay figurines play with our love of collectibles. Lauren Dombrowiak’s Brancusi-esque cityscape of stacked plates and cups is perfect domestic machismo—I wonder why I haven’t seen anything like it before."
It seems like ceramics is becoming a big part of Philadelphia art (yes?). The Dirt on Delight, the Clay Studio, and NSECA have made me think more about ceramics in the last year or so. Roberta Fallon seeing that in the new artist zone and writing about it seems like a good thing.
4. The comma splice in the first paragraph.
Sorry this is long.
I meant to say: "The Dirt on Delight show".
ReplyDelete