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Send us your submissions!
We are excited to share Hawk Krawll’s submission for Philadelphia 2076. Future Market Street Gallery at 11th and Market.
Open call submission deadline: May 1, 2016 at midnight
Show dates: June 3rd – June 25th 2016 @ Space 1026
Space 1026 is looking for artists to submit 1-3 pieces of 2D visual art that look into the FUTURE. We want to see your loose interpretation of what you think Philadelphia will look like in the year 2076. For example: post apocalyptic nightmares, environmental meltdowns, dreamlike futurescapes, new versions of the same old.
Conrad Benner, Founder and Editor of StreetsDept.com, a Philly-based photo-blog that documents and celebrates street art, graffiti, and urban exploration in and around the city of Philadelphia. https://streetsdept.com
Ryan Beck, A Philadelphia based artist whose paintings have muted and watery tones with defined marks and vibrant colors and has shown at Paradigms, James Oliver Gallery, Space 1026, Gallery 222. www.ryanbeckart.tumblr.com
Miriam Singer: creates abstract cityscapes and colorful cartographical drawings inspired by walking around Philadelphia. Exhbitions include Rowan University Gallery, LG Tripp Gallery, Woodmere Art Museum. Miriam currently teaches at Fleisher Art Memorial and is a member of Space 1026 www.miriamsinger.net
HOW TO SUBMIT
Entry fee: $10. Pay here: entry fee link
Please submit 1-3 works that are hang ready and no larger than 36 x 36 in.
email up to three images to:
Please include the title, medium, dimensions, and date of each piece submitted in the body of the email and a confirmation of payment
* we will review our submissions the first week of May and notify you.
Opening Reception Friday April 1 from 7pm to 10pm
Space 1026 is pleased to present Drop Ceiling, an exhibition of new animation, sculpture, and printed matter by Philadelphia artists Jacob Rivkin and Joshua Zerangue, on view from April 1—April 30, 2016.
To retrofit a structure is to fold time and progress. A drop ceiling, as a whole, functions by simultaneously conforming to and concealing the inner layers of a building through a system of standardized parts. If damaged by water, smoke, or mold—these long tiles can be easily swapped out by new ones. The drop ceiling is just as it was. When working on a damaged boat, wooden ship-builders claim as long as they keep one plank of wood from the old form in the new, then by proxy it is still the same boat. This process of doubling forms serves as a conceptual framework for the exhibition Drop Ceiling, where questioning the role of subsequent translations of meaning is paramount. Rivkin and Zerangue’s collective works examine distance, in both measured time and imaginary space, between the literal and figurative parts of language, narrative, and cinema.
Zerangue’s works symbolically and metaphorically obscure the interrelationships between sources by appropriating letters and symbols, motor parts, and text. By selecting source material, like a 1976 Puch 2-stroke engine repair manual, that has passed through several layers of translation (linguistically, temporally, and spatially), the larger cultural and historical implications of distance between viewer and original meaning become entangled and confused.
Rivkin’s animation forms a dialogue between digital and analog cinema to reconcile methods of creating wonder. The limited color palette of Rivkin’s animation emphasises both the subtle collapsed space, or joins, between the separate layers of hand-drawn animation and the dramatic intensity of the surrounding landscapes. This is juxtaposed in the installation by the chroma-key suits for future animation performances. These suits reveal, through their form the potential for playful gestures and unique movement, a connection to the animator’s close partnership to dance and choreography.
Each work embodies its own individual sense of rhythm, structure, and time–as they also reflect a deeper contemplation on the role of analog technologies within an increasingly digital world. Through converting three dimensional sculpture to animation and embedding digital video into a flip book, Rivkin and Zerangue’s works invite viewers to reexamine their own drop ceiling of engagement to the world of mediated information, objects, and images.
Jacob Rivkin’s animation work has screened at the Animation Block Party in Brooklyn, NY, Vox Populi in Philadelphia, PA, and the Peephole Cinema in San Francisco. His sculptures have been exhibited at the Vancouver Art Gallery in Vancouver, BC, the Arlington Art Center in Arlington, VA and Julius Caesar Gallery in Chicago, IL. He is the recipient of a Fulbright Grant and the Weitzel Barber Travel Prize. He currently teaches animation and design courses at the University of Pennsylvania.
Joshua Zerangue’s animation work has screened at the Brooklyn Film Festival in Brooklyn, NY, Athens International Film Festival in Athens, OH, the Columbia Museum of Art, Columbia, SC, and at the Second Annual New Media Juried Exhibition, Asheville Art Museum, Asheville, NC. He currently teaches art and design courses at the University of Delaware and Drexel University.
HOW TO BE A MODEL – A WORKSHOP WITH ANDREW JEFFREY WRIGHT
Today March 26, 2016 at 4pm!!!
Do you want to be a model? Of course you do. It’s the most rewarding job in the world. Andrew Jeffrey Wright IS a model and he wants YOU to be a model too!
Learn runway his way! Learn how to pose for print and web! Bring your positive attitude and willingness to learn and get ready to transcend!
SATURDAY, MARCH 26th at 4:00 PM
at the Louis Bluver Theatre at The Drake
1512 Spruce St., Philadelphia
Space 1026ers Emilia Brintnall and Andrew Jeffrey Wright are showing with Space 1026 Alum Dan Murphy and Isaac Lin in PDFW at Slow Culture Gallery in LA!
March 4th – March 27th, 2016
Opening Friday, March 4th 7pm – 10pm
PLEASE COME IN is conceived as a porous environment, in which visitors weave across boundaries between the work of art and the surrounding space, penetrate immersive interiors, and transgress frames. Featuring five artists – Keenan Bennett, Stephanie Elden, Olivia Jones, Daria McMeans, and Yue Nakayama – the exhibition is a web of things that alternately enclose the viewer and open onto their environment.
In her essay “Too Much World: Is the Internet Dead?” artist and critic Hito Steyerl writes that “cinema has exploded into the world to become partly real.” In PLEASE COME IN, artists figure this explosion via screens that surround and interrogate as agents; surreal objects that make room for the viewer or impose themselves on lived space; and constructed environments that are brief alternatives to or escapes from apparent reality. While not all of the artists work directly with cinematic media, the featured videos, sculptural objects, and immersive installations all explore the confused distinction between our lives and their mediations.
Keenan Bennett’s research-based practice explores a nexus of concerns that include marginalized histories, monumentality, and youth subcultures. His immersive multimedia installations trace the cracks and silences of history and toy with the affects of absence and lack. Dense plays of light and shadow, symbolic imagery, and perceptual effects animate Bennett’s mythical, unlocatable situations.
Stephanie Elden’s “hoop house” characterizes her artistic trajectory, which foregrounds both the complex relationships and the innate tensions between natural and unnatural elements. In Elden’s artwork, manufactured space highlights dialectical processes between the artificiality of manmade materials and the organic fluidity of water.
Olivia Jones utilizes fabrics, wood, and steel, mining the aesthetic registers of industrial design and abstract art, to create works of art that fluidly combine architecture, sculpture, and painting. Jones’s alluringly tactile and formally rigorous objects unsettle their own visual appeal through odd contortions that evoke the uncanny.
Combining a minimal aesthetic with a near-documentary approach, Daria McMeans blends film’s stylistic classifications and opens up new relational modes by training the camera on herself and her own family. McMeans’s enveloping three channel installation provokes a range of emotions – from empathy to discomfort – as it mobilizes personal experiences and explores the possibility of conversations about race and lineage.
Yue Nakayama devises her visual literature based on her personal writings about politics, recurring ordinary or historical events, and mass media. Her images and performances are full of humor, an important trait in Nakayama’s art: firstly as an iconoclastic mechanism that challenges taboos against entertainment in contemporary art, and secondly as a disavowal of excessively deadpan topics.
PLEASE COME IN is the third exhibition in the Incubation Series, a curatorial collaboration between graduate students in the Fine Arts and History of Art programs at the University of Pennsylvania. The Incubation Series takes its name from the idea that graduate school is a laboratory where one can test out new ways of thinking. Fostered by Keenan Bennett, Haely Chang, Kirsten Gill, and Hilary R. Whitham, the program aims to simultaneously raise the profile of Penn Design’s MFA candidates by showcasing their work to a wider Philadelphia area audience, while also offering an opportunity for art history graduate students to expand their curatorial practices.
If chocolate and songs don’t work, block print for their affections! Carve your design and print your own Valentines and love notes. Ages 8+, children must be accompanied by adults. Materials provided and sweets included. $10
Register online here!
February 5th- February 25th
Opening Reception // February 5th 7-10 p.m.
Space 1026 presents new work by Brooklyn based artist Eland Ward. Join us for this exhibition of large scale works on paper! Atmospheric and meditative, these studies explore the tension between the mundane activity that constitutes the majority of our waking hours and under the daily conditions of production and consumption. Ward succeeds through process to reclaim the quiet space from the always connected, yet simultaneously fragmented digital world in which we share.