Pentimenti Gallery regular Steven Baris continues to study and interpret the elasticity and ambiguity of the exurban landscape and its big-box architecture in his recent geometric paintings on canvas and Mylar, and his painted Plexiglas wall sculptures. In particular, his large oil paintings on canvas, showing diagrammatic outlines floating in milky atmospheres, express the banality and soullessness of the exurbs.
If you admire the fertile imagination of Willie Cole, do not miss the excellent and easygoing survey of his work, "Willie Cole: Deep Impressions," at the Rowan University Art Gallery, organized by independent curator and former Montclair Art Museum director Patterson Sims. (Sims was also the curator of Cole's first comprehensive survey show, "Anxious Objects: Willie Cole's Favorite Brands," which originated at Montclair Art Museum in 2005 under his directorship.)
It's not a pairing that automatically comes to mind - the prints of Picasso and the furniture of Wendell Castle - but the cofounder of cubism and the art-furniture patriarch look as if they were made for each other in Wexler Gallery's current exhibition,
Though he started out as the youngest member of the first British Conceptual Art group in the 1960s, London-based artist John Stezaker quickly gravitated back to picture-making, first appropriating media images and, later, film-derived ones in his collage
Philadelphia has spawned its share of mysterious artists, certainly, but none has captured the imagination as the Philadelphia Wireman continues to do. Who was this anonymous artist, and why were nearly a thousand of his (or her) idiosyncratic bent-wire assemblages left spilling out of damp cardboard boxes on Juniper Street in South Philly?
Unlike other large groups of young people swarming the streets of Philadelphia during the summer, the one composed of friendly clowns, vagabonds, pirates, and gangster's molls was welcomed everywhere it went, from Broad Street to Clark Park to Kensington.
Familiar to Philadelphians from her Print Center solo of 2008 and PAFA's Philagrafika group show of 2010, Orit Hofshi's carved woodblock and painted renderings of desolate, roiling, war-torn landscapes are so visceral that viewers can almost feel the intense energy that propels Hofshi as she works.
Of the various curious things the enigmatic collagist and correspondence artist Ray Johnson did over the course of his career - and much of what he did was pointedly inexplicable - one was to suddenly transfer ownership of 13 cardboard boxes tied with twi
Artworks that reproduce people and things at real-life scale have always found an appreciative audience. But the perfect copy finally may have lost its luster for artists, judging from the efforts of the 10 who make up the Print Center's exhibition "To Scale." Not only do few of these pieces aim for fool-the-eye precision, but also none shocks a vi
Edith Newhall has been reviewing gallery exhibitions for The Inquirer since April 2005. She is a former staff writer for New York Magazine, where she covered the New York art world in features, exhibition reviews and interviews with artists. Her articles on the arts and travel have also been published in ARTnews, the Washington Post, Travel & Leisure and Condé-Nast Traveler. She is the co-author of "In Artists' Homes" (Clarkson Potter, 1992).