SPR
16
P H I L A D E L P H I A
P A I N T E R S
October 20 – November 20, 2016 The Marlin and Regina Miller Gallery, Kutztown University
Arden Bendler Browning
Michelle Oosterbahn
Charles Burwell
Bruce Pollock
Meghan Cox
Celia Reisman
Sarah Gamble
Stuart Shils
Barry Goldberg
Becky Suss
Neysa Grassi
Jackie Tileston
Jane Irish
Isaac Tin Wei Lin
Sarah McEneaney
Joan Wadleigh Curran
John Moore
Justin Webb
Quentin Morris
PHILADELPHIA PAINTERS by Mark Mahosky The purpose of this show is to introduce students at
and beyond since the 1990’s. A few years after Old City
Kutztown University, and the community at large, to the
pioneers Larry Becker and Heidi Nivling bought their
high caliber of painting going on in Philadelphia. It is also,
building in 1986 and made it into their gallery and working
by way of visiting artists associated with this show and the
space, similar changes expanded and flourished throughout
following essay, to inform them that one hour south of the
the neighborhood. Soon there were galleries, restaurants,
University there is a vital, energetic, and welcoming scene
furniture showrooms, and bookstores lining both 2nd and
waiting to be explored. I have been involved in showing
3rd St. from south of Market and beyond to north of
my work in Philadelphia since 1986 and have followed
Race St. and beyond. Larry liked to joke that he could no
the trajectory of many Philadelphia painters since that
longer afford to pay the real estate taxes. Although the
time. There is no way to make this show a comprehensive
construction sites of today look to be zoned with official
overview of painting going on there, but I can say with
permits, unionized, and employing heavy equipment, many
authority that every painter included here demonstrates a
of the initial transformations of these neighborhoods were
dedication to their work and has made a contribution to
facilitated by hammer swinging, drywall hanging artists.
Philadelphia’s cultural fabric. Philadelphia’s art scene has always been dwarfed by THE PLACE
the commercial prowess and cultural clout of New York.
Artists have to put a few things in order before they begin
However the BFA’s and MFA’s that populate Philadelphia
making art with any kind of continuity. They need a place
and the artists moving to Philadelphia that can no
to live and work, they need money to stay alive, and most
longer afford Long Island City, let alone Brooklyn, let
need some type of social engagement, usually with other
alone Manhattan make it a great place to meet, work
artists. It is evident that Philadelphia is in the middle of
and hang with other artists. Artists are coming and
an unprecedented urban transformation. While preparing
artists are staying. Vast swaths of real estate exist that
for this show, I saw construction crews near every gallery
are still relatively affordable. It seems easy to enter the
and studio that I visited. Artists have always had a knack
social scene by attending some openings and starting
for seeing the potential in less desirable real estate and
a conversation. This living and making shift beyond New
are willing to put in the sweat equity necessary to make it
York to other cities is in part generated by the same
not only habitable, but also cool. Artists helped transform
energy that ushered us into the post-modern, global, and
Philadelphia from South St. in the late 1970’s, Old City
digital ages. Now you can be, do, and buy anywhere. De
and Northern Liberties in the 1980’s, and onto Fishtown
Kooning worked in New York, not because it was New York
but because it was cheap and there were other artists to
Philadelphia musicians, technicians, and broadcasters
meet. There’s no doubt that New York will continue to be
became the anonymous and unsung myth makers that
a formidable arena where art is bought and sold but it is
moved America’s cultural needle from a baseball mentality
increasingly difficult to make art there as a young artist
to a football mentality.
unless you have a sizeable trust fund. Philadelphia is not known for its glamour as much as for EAGLES and EAKINS
its pragmatism. Thomas Eakins, Louis Kahn, and Terry
Philadelphia has long been aware of its underdog status. A
Gross are not necessarily sexy, just good and solid.
2001 drawing by the Philadelphia artist Anthony Campuzano
Likewise, the painters I chose for this show display a
entitled The Blues wackily illustrates and paraphrases
comprehensive command of their work and a dedication to
a quote from Nathaniel Burt’s 1963 book The Perennial
seeing things through to conclusion.
Philadelphians that refers to the demise of prominent Philadelphian Nathaniel Biddle in the 1840’s:
A PHILADELPHIA EDUCATION I can’t speak for every painter in this show, but by
Let vulgar Washington take over politics
providing a perspective on the 35 years that I have known
And vulgar New York take over finance
the city of Philadelphia, I believe I will be able to provide
Let even schoolmarmish Boston be first in books
a few touchstones common to us all. What follows is a
Philadelphia would no longer be first in anything but at
snapshot of my Philadelphia art education.
least it would be Philadelphian The Queen Mother of all art in Philadelphia is The Philadelphia still has an admirable showing in the attributes
Philadelphia Museum of Art, which was under the able
that Biddle was fearful of losing, but Philadelphia is
and steady direction of Anne d’Harnoncourt for most of
probably better known for having plenty of guts, self-
the years to which I refer. I grew up in a small central
deprecating sarcastic humor, and a do-it–yourself pride.
Pennsylvania town, four hours from any major city, where
Often its visual contributions could be considered prosaic,
mediocre reproductions and Robert Hughes’ PBS series
from The Saturday Evening Post via Curtis Publishing to
The Shock of the New were among my best sources
Comcast, the mega-billions company whose goal is to
of reference. Robert Hughes had me pumped to see
control how we consume the images of the future. An
Duchamp. On my first trip to the PMA in 1981 it was
excellent example of Philadelphia’s understated influence
great to stand in the presence of the Large Glass. I
is NFL Films. Starting in 1965, NFL Films was overseen
soon learned you don’t look at Duchamp, you decipher,
by the father and son team of Ed and Steve Sabol in a
decode, and think about his ideas. Then you have to deal
non-descript, two story building at 230 N. 13th St. Many
with them. The piece that had real impact on that trip
was Picasso’s 1906 Self-Portrait with Palette. There are
from leading a life of exile in Arkansas; Vuillard kissing
passages in that painting that are gooey and thick and I
his sister; and Rousseau…where did those monkeys in
remember thinking to myself - WOW, you’re allowed to do
the jungle get that bottle of milk and backscratchers? In
that! As a student at Tyler from 1982-1986 I had time to
1996 The PMA hosted a monumental Cezanne exhibition.
digest the power of the collection, but more importantly I
Philadelphia also hosted the 1996 MLB All-Star game.
discovered its idiosyncrasies. I recalibrated everything that
In the PMA bookstore was the craziest souvenir ever:
I was being taught when I saw Horace Pippin’s The End
Cezanne’s ca. 1904 Still Life with Ginger Jar, Sugar Bowl,
of the War: Starting Home 1930-1933. That frame! That
and Oranges printed on a baseball!?! I debated, but didn’t
paint! I never saw anything like this! This is something
bite. Does anyone have one of these? I will pay $100 on
you cannot teach or learn. That room also had two
the spot for the first one presented. Ah… Philadelphia!
paintings by Marsden Hartley; an early, urbane, self-framed piece, Painting No. 4-A Black Horse, 1915, and a rugged
Speaking of Cezanne, Philadelphia can also boast more
painting made the year before he died, Hurricane Island,
Cezannes on public view than any other city in the world.
Vinalhaven, 1942. Nearby hung an atypical Georgia O’Keefe
For decades there were complaints about the accessibility
painting of a glass near a peach. Paintings by Clarence
of the majority of the Cezannes as they were housed
Carter, Ben Shahn, and Milton Avery were all hanging side
in The Barnes Foundation. The Barnes reinforced my
by side. There was a weird painting by Eilshemius of a
idiosyncratic view of art in Philadelphia where Matisse and
murder in progress with a self-painted frame. I began to
Picasso share the walls with African sculpture, antiquities
love the slightly provincial aroma of the PMA. This was not
and medieval metal hinges. Continued complaints about
the MoMA.
accessibility and parking issues, in part, lead to its now hermitically sealed present version on the Franklin Parkway.
Beyond the presence of Duchamp, the Arensberg Collection
In the mid 80’s I must have hit an accessibility sweet spot.
is a shrine of modernism. In a white yet indelible room,
You could show up any time during posted hours, pay
Brancusi and Mondrian share their attempts at perfection.
a dollar and see half of the collection. Then a man in
There was/is also (things change, my friends): the Thomas
a hat and a uniform that looked like he stepped off the
Chimes painting of Alfred Jarry, usually situated by a lumpy
Warminster Express rang a bell in the middle of the main
Jess painting/collage; the Van Gogh painting of rain viewed
hall and announced that you could see the other half
from his asylum window after the ear incident; Turners
of the collection! Dr. Barnes stipulated that none of his
incredible Burning of the Houses of Parliament; Van Eyck’s
collection could be reproduced photographically. Although
painting of St Francis that is actually smaller than the
I would visit as often as possible and had my favorites,
post card reproduction in the gift shop; Eakins’ powerful
it always felt like they were different paintings and I was
Gross Clinic - saved through d’Harnoncourt’s leadership
seeing them for the very first time - again and again! I
learned that you couldn’t memorize great painting and
equally by Professor Italo Scanga, the early SOHO art
Dr. Barnes’s paintings retained a power and privilege that
scene in New York, and their close relationship with the
few paintings maintained (as I sip coffee out of my Starry
Duchamp exhibit at the PMA. The Institute of Contemporary
Night mug). I never read Walter Benjamin’s essay about
Art at the University of Pennsylvania, which hosted the
mechanical reproduction. I didn’t have to; I was living it in
legendary 1965 Retrospective of Andy Warhol where
Philadelphia. The Barnes was a pilgrimage with the added
the paintings were taken off the walls to avoid getting
bonus of an arboretum. For those of you born after 1990,
damaged by the crowd at the opening, continues to host
you will be spared knowing the difference between Latches
important work from around the world while also keeping
Lane and the Parkway.
it’s eye on promising younger Philadelphians such as Becky Suss featured in this show. Locks Gallery is a perennial
At the Pennsylvania Academy Museum, Homer’s Fox Hunt
standout. There is the unique Fabric Workshop. There was
stands alone.
Gallery Joe, which is greatly missed.
Beyond the museums I added many go-to places and
Galleries come and go, neighborhoods go hot and cold
many must-see and talk-to people as I made my rounds.
but Philadelphia’s art schools chug along. The University of
Some favorites were the Gallery at Moore College of Art,
the Arts, Moore College of Art, The Pennsylvania Academy,
which hosted and still hosts excellent shows. This is where
Temple University’s Tyler School of Art, Drexel and Penn
I first saw the work of Martin Ramirez in a bold and
are the major players but there are solid programs at
unprecedented show in 1986. This show dovetailed nicely
many liberal arts colleges and universities in the city and
with the work being shown at the Janet Fleisher gallery on
region as well. Philadelphia can boast a great number of
17th St. By way of the Midwest with a touch of the Chicago
students engaged in the arts, particularly in painting which
imagist school thrown in, director John Ollman started
parlays into the strength of this show. Some teachers from
showing the work of “untrained artists” and art from all
Philadelphia have had a profound affect on generations of
parts of the world over 45 years ago. The gallery, now
students. Included in this show are John Moore at Tyler
Fleisher/Ollman, has become a cornerstone in Philadelphia.
and Penn, Joan Wadliegh-Curran at Penn, Stuart Shils at
One of the most amazing shows I ever saw in Philadelphia
the Pennsylvania Academy, Celia Reisman from Swarthmore
was at the Port of Philadelphia Museum on the Delaware
and Bruce Pollock at Drexel.
River in 1984. It was a very comprehensive show of German Expressionism with all the heavy hitters - Kirchner, Marc,
For those of us fortunate enough to participate in Temple
Grosz, Schmidt-Rottluff, Dix, etc. Does anybody remember
University’s Rome program, Italy was an important extension
this? Later there was Old City with the aforementioned
of our Philadelphia education. Caravaggio, Raphael and
Larry and Heidi. Both were Tyler undergraduates informed
antiquity challenged the contemporary-centric, New York-
centric art school habits of my generation. Rome provided a
a viewer, painting demands whatever time and attention
deep look into the traditions of art and helped us envision
we care to invest. For the painter, making is dependent
a long-term trajectory for our own work. We brought home
on very little technology or the help of others. No other
with us the colossal figures of art that helped us put the
medium can present evidence of doubt as part of our
latest critic driven fashion from SoHo, and later Chelsea,
intellect in quite the same way (think Matisse-not David).
into clear perspective.
Since the advent of photography, painting has been freed of its representational burdens. Postmodern discussions
Further out in the mind but in the heart of Philadelphia
have smashed modernist dogma and representation has
exist the Philadelphia Wireman, the Toynbee Tiler, and
been welcomed back into the family. Now it’s all cool
the cigar band obsessed Felipe Jesus Consalvos. Further
again.
afield lie the artist built homes of Wharton Esherick near Valley Forge and George Nakashima near New Hope. Henry
Doing anything well, like all the painters in this show
Mercer’s Fonthill in Doylestown, along with his Moravian Tile
demonstrate, takes great determination, discipline, and
Works and museum is also a satellite within Philadelphia’s
commitment. Painting is also a great privilege. If you paint
eccentric orbit.
it means you live in a culture secure enough, free enough, and supportive enough that you can struggle and work
PAINTING and PAINTERS
through life, as we all do, to get to the studio to do your
If you read art magazines, are involved in academia,
work. I often, and sadly, think of times and places where
or even casually observant of the digital habits of the
this was and is not true.
Millennial Generation, you may question the present validity and future of painting. Painting has been declared dead
Why do we keep doing it? Immortality? Recognition?
on many occasions, but in my estimation if it survived
Money? Fame? Therapy? Habit? Sickness? Self-satisfaction?
through the 1840’s with the advent of photography, it can survive anything. There will always be a fascination with
The answer is intensely personal for the painter and
the translation of a personal vision into paint. And, humans
inexplicable- like a painting.
never tire from seeing sticky stuff from the earth smeared on a flat surface creating the illusion of space. Painting is not dead or dying for the painters presented here. Although
Mark Mahosky
periodically relegated to the sidelines of critical theory,
October 2016
painting still retains its vitality in schools, galleries, and in the marketplace. It is a strategy of visual art that is a perennial contender and a progenitor of art dialogue. As
SPECIAL THANKS Brigid Donlon and Danielle Patterson are Kutztown University Art and Art History students who through the Marguerite Bierman Scholarship helped prepare, organize, and curate PHILADELPHIA PAINTERS. Karen Stanford is the Director of the Marlin and Regina Miller Gallery at Kutztown University. She was invaluable throughout the formation and preparation of the exhibit. She also prepared the exhibition materials and the information within this catalog –all with grace and seeming ease. Kevin Zodrow is a Kutztown University Art and Art History student who assisted Karen as her intern at the gallery. Annette Christman is the ALWAYS helpful assistant in the Department of Art and Art History. Gretchen Heuges is my wife who puts up with me and is a tenacious editor. Thanks to The Department of Art and Art History at Kutztown University and the Dean of Kutztown University’s School of Visual and Performing Art, William Mowder, for their support of the exhibition and the public lectures. Also thanks to all the artists in the show, and all the gallery owners, directors, and assistants involved with PHILADELPHIA PAINTERS. All were immensely helpful and essential in putting the show together.
ARDEN BENDLER BROWNING
MFA, Painting, Tyler School of Art, Philadelphia, PA, 2003 Graduate Seminar, Art Theory/Art Criticism, Temple University Rome, Italy, 2003 MSA, Painting, High Distinctions, Sydney College of the Arts, Sydney, Australia, 2000 BFA, Art, Carnegie Mellon University, Pittsburgh, PA, 1997 Study Abroad, Temple University Rome, Italy, 1996 Represented by Bridgette Mayer Gallery, Philadelphia, PA www.ardenbendlerbrowning.com
In a Day, 2016, flashe and acrylic gouache on panel, 60 x 60 inches Image courtesy of the artist and Bridgette Mayer Gallery
CHARLES BURWELL
MFA, Painting, Yale University, New Haven, CT, 1979 BFA, Painting, Tyler School of Art, Philadelphia, PA, 1977 Represented by Bridgette Mayer Gallery, Philadelphia, PA www.bridgettemayergallery.com/artists/charles-burwell
Orange Structure, 2014, acrylic on canvas, 96 x 78 inches Image courtesy of the artist and Bridgette Mayer Gallery
MEGHAN COX
MFA, University of Pennsylvania, School of Design, Philadelphia, PA, 2005 BFA, Painting, BA, Art History, Indiana University, Bloomington, IN, 2003 www.meghancox.net
Medallion, 2016, Oil on Canvas, 12 x 9 inches Image courtesy of the artist
SARAH GAMBLE
MFA, University of Pennsylvania, Philadelphia PA, 2001 BFA, Corcoran College of Art & Design, Washington DC, 1998 North Carolina School for the Arts, Winston Salem NC Represented by Fleisher/Ollman Gallery, Philadelphia, PA www.sarahgamble.com
Space Collage, 2014, mixed media collage, 51 x 41 inches Image courtesy of the artist and Fleisher/Ollman, Philadelphia. Photo Clare Iltis
BARRY GOLDBERG
Certificate, The Pennsylvania Academy of the Fine Arts, Philadelphia, PA, 1976 University of Wisconsin, Madison, WI, 1972 Represented by Larry Becker Contemporary Art, Philadelphia, PA
Barrow and Sarsen, 2012, oil and pigment stick on linen, 57 x 76 inches Image courtesy of the artist and Larry Becker Contemporary Art
NEYSA GRASSI Certificate, The Pennsylvania Academy of the Fine Arts, Philadelphia, PA, 1973 Represented by Locks Gallery, Philadelphia, PA www.locksgallery.com/artists/neysa-grassi
Underbelly, 2008, oil on linen, 60 x 56 inches Image courtesy of the artist and Locks Gallery
JANE IRISH BFA, Maryland Institute College of Art, Baltimore, MD, 1977 MFA, Queens College, City University of New York, Queens, NY, 1980 Represented by Locks Gallery, Philadelphia, PA www.janeirish.com
Malouiniere Launay Ravilly Reception, 2015, egg tempera on linen, 30 x 49 inches Image courtesy of the artist and Locks Gallery
SARAH MCENEANEY
Certificate, The Pennsylvania Academy of the Fine Arts, Philadelphia, PA, 1979 University of the Arts, Philadelphia, PA, 1975 Represented by Locks Gallery, Philadelphia, PA www.locksgallery.com/artists/sarah-mceneaney
Night, 2008, egg tempera on linen, 50 x 50 inches Image courtesy of the artist and Locks Gallery
JOHN MOORE
MFA, Yale University, New Haven, CT, 1968 BFA, Washington University, St Louis, MO, 1966 Yale Summer School, Norfolk, CT, 1965 Chautauqua Institution, Chautauqua, NY, 1964 Represented by Locks Gallery, Philadelphia, PA www.locksgallery.com/artists/john-moore
Cord, 2009, oil on canvas, 56 x 38 inches Image Courtesy of the artist and Locks Gallery
QUENTIN MORRIS
The Pennsylvania Academy of the Fine Arts, Philadelphia, PA, 1967 Represented by Larry Becker Contemporary Art, Philadelphia, PA
Untitled (December 2015), 2015, silkscreen printing ink and polymer acrylic on canvas, 67� diameter Image courtesy of the artist and Larry Becker Contemporary Art
MICHELLE OOSTERBAAN
MFA, Painting, Indiana University, Bloomington, IN, 1992 Post Grad study, Indiana University, Florence, Italy BFA Painting/Printmaking, BFA, Washington University, St. Louis, MO, 1990 www.michelleoosterbaan.com
Moon Light Refraction: Nomad Study #1 (Akureyri, Iceland), 2015, gouache, graphite on Arches, 12 x 22 inches Image courtesy of the artist
BRUCE POLLOCK
MFA, Tyler School of Art, Philadelphia, PA, 1978 BFA, Cleveland Institute of Art, Cleveland, OH, 1976 www.brucepollock.com
Forest In the Trees, 2013, oil on linen, 56 x 50 inches Image courtesy of the artist
CELIA REISMAN
MFA, Printmaking, Yale University, New Haven, CT, 1978 BFA, Painting and Printmaking, Carnegie-Mellon University, Pittsburgh, PA, 1971 Represented by Gross McCleaf Gallery, Philadelphia, PA www.celiareisman.com
Village Green, 2009, oil on canvas, 50 x 60 inches Image courtesy of the artis and Gross McCleaf Gallery
STUART SHILS
BFA, The Pennsylvania Academy of Fine Arts, Philadelphia, PA, 1982 Philadelphia College of Art, Philadelphia, PA, 1977 Temple University, Philadelphia, Pa, 1976 Drew University, Madison, NJ, 1974 www.stuartshils.com
Winter Tree in the Park, 1995, oil on panel, 13 x 13 inches Image courtesy of the artist
BECKY SUSS
Skowhegan School of Painting and Sculpture, Madison, ME, 2013 MFA, University of California, Berkeley, CA, 2010 BA, Williams College, Williamstown, MA 2003 Represented by Fleisher/Ollman Gallery, Philadelphia, PA www.beckysuss.net
Reading Room, 2012, Oil on Canvas, 84 x 60 inches Image courtesy of the artist and Fleisher/Ollman, Philadelphia
JACKIE TILESTON
MFA, Painting, Indiana University, Bloomington, IN 1988 BA, Fine Arts, Yale University, New Haven, CT, 1983 Skidmore, Summer Six, Saratoga Springs, CT, 1981 Academie Charpentier, Paris, France 1979 Represented by Pentimenti Gallery, Philadelphia, PA www.jackietileston.info
Super Altogether Gone, 2015, oil, mixed media on linen, 72 x 60 inches Image courtesy of the artist and Pentimenti Gallery
ISAAC TIN WEI LIN
MFA, Drawing/Painting, California College of the Arts, Oakland, CA, 2005 BFA, Painting, Rhode Island School of Design, Providence, RI, 1998 Represented by Fleisher/Ollman Gallery
New Wave, 2014, acrylic on panel, 28 x 26 inches Image courtesy of the artist and Fleisher/Ollman, Philadelphia. Photo Clare Iltis
JOAN WADLEIGH CURRAN
MFA, Yale University, New Haven, CT, 1974 BS, Art, Skidmore College, Saratoga Springs, NY, 1972 Represented by Savery Gallery, Philadelphia, PA www.joanwadleighcurran.com
Stack, 2015, oil on canvas, 60 x 60 inches Image courtesy of the artist and Savery Gallery
JUSTIN WEBB
MFA, The Pennsylvania Academy of the Fine Arts, Philadelphia, Pa, 2008 BFA, Kendall College of Art& Design of Ferris State University, Grand Rapids, MI, 2006 Represented by City Tattoo Studio, Philadelphia, PA www.justinwebbstudio.tumblr.com
Beach Towel, Rug, Hallway, Snake, Closed Door, Kitchen, Fabric Sample, 2016, oil on canvas, 18 x 20 inches Image courtesy of the artist and the Central Tattoo Studio
P H I L A D E L P H I A
P A I N T E R S
October 20 - November 20, 2016 The Marlin and Regina Miller Gallery Kutztown University