Amie Potsic

December 15, 2022

Art Watch Radio Podcast with Kim Collison, Curator of Exhibitions at Winterthur Museum, Garden and Library on December 7, 2022

Amie Potsic

December 15, 2022

*Winterthur Museum Transformations Exhibition View*, 2022. Artwork by Deirdre Murphy. Photo courtesy of the Winterthur Museum, Garden & Library.

December 7, 2022

Amie Potsic interviews Kim Collison, Curator of Exhibitions at Winterthur Museum, Garden and Library.

Kim Collison is the Curator of Exhibitions at Winterthur Museum, Garden and Library. In her time at Winterthur, she has worked in both collections planning and exhibitions and has led the organization of exhibitions and gallery rotations for the past six years. Most recently, she has overseen the development and installation of Jacqueline Kennedy and H. F. du Pont: From Winterthur to the White House. In 2021, she led a team of Winterthur staff in the creation of its 70th-anniversary installation, Outside In: Nature-inspired Design at Winterthur, which will serve as an introductory gallery for the next several years. Other recent projects include a significant re-interpretation of Winterthur’s permanent galleries with the Re-Vision 20/20: Through a Woman’s Lens and Bearing Witness, as well as a re-interpretation of the Dominy gallery, now entitled With Hammer in Hand: The Story of American Craft. She co-curated the 2019 exhibition Costuming THE CROWN with Winterthur’s former estate historian, Jeff Groff, and then-director of collections, Linda Eaton. In 2017, she curated Royal Splendor: The Coronation Gown from THE CROWN. Prior to coming to Winterthur, she worked in member engagement at the Decorative Arts Trust. She began her career as a high school English teacher and while teaching earned her master’s degree in English and Publishing from Rosemont College.

About the Winterthur Museum, Garden & Library
Winterthur is the premier museum of American decorative arts, with an unparalleled collection of nearly 90,000 objects made or used in America since 1640. The collection is displayed in the magnificent 175-room house, much as it was when the family of founder Henry Francis du Pont called it home.

Winterthur also has 1,000 acres of protected meadows, woodlands, ponds, and waterways. The 60-acre garden, designed by du Pont, is among America’s best, with magnificent plantings and massive displays of color throughout the year. The graduate degree programs and extensive research library make Winterthur an important center for the study of American art and culture.

About the Exhibition
Transformations brings the work of contemporary artists and makers into the galleries and garden at Winterthur. Highlighting artistic expressions created by Winterthur Fellows, these installations celebrate the continuing inspiration provided by Winterthur’s museum, garden, and library collections.

Explore the works of these artists and makers and discover how Winterthur’s landscape and material culture moved them to transform their impressions of the past into artistic and experiential representations that comment on the present.

Click here to learn more about the Winterthur Museum, Garden & Library.

Banner Image: Outside In: Nature-inspired Design at the Winterthur.
Photo courtesy of the Winterthur Museum, Garden & Library.

Amie Potsic

November 16, 2022

Art Watch Radio Podcast with Arlene Love on November 16, 2022

Amie Potsic

November 16, 2022

© Arlene Love, *Cruciform*, polyester resin and fiberglass, 1973

November 16, 2022

Amie Potsic interviews Arlene Love, an award-winning pioneer in resin sculpture and accomplished draftswoman and photographer.

© Arlene Love with *Rosey Crucifiction* & *Backroom Abortion,* 1972

Arlene Love is an award-winning pioneer in resin sculpture and accomplished draftswoman and photographer with numerous public art installations. For forty years, Love focused on sculpture, with solo shows from New York to California. Her work has been included in juried exhibitions in the Museum of Modern Art (NY), Boston Museum of Art, Sculpture Center (NYC), Herbert F. Johnson Museum of Cornell University, among others. Love’s sculpture is in the collections of The Philadelphia Museum of Art, James A Michener Museum, the University of Scranton and Franklin & Marshall College. In Philadelphia, her bronze Winged Woman is in the garden of the Dorchester facing Rittenhouse Square. Eight Figures, life size bronzes reside permanently in the Kimmel Center. The gold leafed Face Fragment is in front of the Monell Chemical Senses Center at 3500 Market Street.

Love’s focus began shifting toward drawing during the dozen years she and her husband lived in a tiny mountain village near the city of Oaxaca, Mexico. Her drawings, etchings and encaustics were exhibited in Oaxaca galleries and in exhibitions of Oaxaca artists. While in Oaxaca, she also worked in a print taller and created a portfolio of etchings which is in the Linda Lee Alter Collection at PAFA.

Artist Statement
My work, regardless of medium has always focused on depiction of the human image. The only exceptions are my series of drawings of the bullfight 1989-1997. This ritual of life and death with honor had fascinated me for decades. Most of the drawings show the bull as victor, even though we know the bull must die. Both the bull and the man will die - the bull within twenty minutes. The man - sooner or later.

From the Venus of Willendorf to the photographic image, I feel that the vehicle of expression most immediate and most compelling is the image of a human being. It is the image that expresses the most profound and basic emotions. It speaks back to us of our own vulnerability and humanity.

Arlene Love

© Arlene Love, *Eight of Ten Heads,* wall mounted, 1986-87

Click here to view Arlene Love's collection and full art history profile.

Banner Image: © Arlene Love, Five Figures in Black, polyester resin and fiberglass, 33” h, 1977
Courtesy of the artist.

Amie Potsic

October 21, 2022

Art Watch Radio Podcast with Margaret Winslow, Chief Curator of Contemporary Art, Delaware Art Museum on October 19, 2022

Amie Potsic

October 21, 2022

*Towards Harmony*, 2004, Wes Memeger (born 1939), Acrylic on canvas, 12 x 12 inches. Courtesy of the artist. © Wes Memeger

October 19, 2022

Amie Potsic interviews Margaret Winslow, Chief Curator and Curator of Contemporary Art at the Delaware Art Museum about her new exhibition of painter Wes Memeger.

*Square, Circles, Arcs, and Lines Together*, 2019, Wes Memeger (born 1939), Acrylic on canvas, 72 x 72 inches. Courtesy of the artist. © Wes Memeger

Margaret Winslow currently lives and works in Wilmington, Delaware where she is the Chief Curator of Contemporary Art at the Delaware
Art Museum. She has curated for the Neuberger Museum of Art and The Delaware Contemporary and assisted with exhibits for the Aldrich Contemporary Art Museum. Recent exhibitions at the Delaware Art Museum include Afro-American Images 1971: The Vision of Percy Ricks, Black
Survival Guide, or How to Live Through a Police Riot, a 2018 commission by Hank Willis Thomas; Truth & Vision: 21st Century Realism; Dream Streets: Art in Wilmington 1970-1990; and Retro-Active: Performance Art from 1964-1987. Margaret has served as an evaluator for the Headlands Center for the Arts, an adjunct faculty member at the University of Delaware, and a radio host for Art Watch on WCHE 1520 AM. Public presentations include talks at the Beijing American Center in China, the College Art Association, and the Mid-Atlantic Association of Museums.

Margaret holds a BA in Art History from the University of Mary Washington and an MA in Modern and Contemporary Art, Theory, and Criticism from SUNY Purchase College.

About the Exhibition

Wes Memeger has explored the square for decades. In his early career as a chemist, he analyzed the skewed bonds in an almost square carbon and hydrogen compound. As an artist, Memeger studied the works of abstract painters, reading and viewing their considerations of the basic and ubiquitous shape.

Drawing from these seemingly disparate backgrounds, Memeger uses the square as a building block, developing abstract compositions that layer form, color, and texture. The artist adds circles and arcs, gold leaf, or fluorescent colors creating works that capture for him, “significant dynamism, but at the same time, surprising tranquility.” The paintings in this exhibition are as much about the square as they are about our perceptions of supposedly rigid shapes in our world and their slightly, but constantly, shifting nature.

Wes Memeger: The Square and Other Concerns is on view at the Delaware Art Museum through January 22, 2023.

Wes Memeger: The Square and Other Concerns

Exhibition dates:
October 15, 2022 - January 22, 2023 at the Delaware Art Museum

*Towards Disharmony II*, 2003, Wes Memeger (born 1939), Acrylic on canvas, 36 x 36 inches. Collection of Kim Memeger. © Wes Memeger

*Towards an Eccentric Square*, 1998, Wes Memeger (born 1939), Acrylic on paper, 20 x 25 inches. Courtesy of the artist. © Wes Memeger

*Square Dance*, 1999–2000, Wes Memeger (born 1939), Acrylic on canvas, 48 x 48 inches. Courtesy of the artist. © Wes Memeger

Click here to learn more about Wes Memeger: The Square and Other Concerns.

For more information about the Delaware Art Museum, visit: https://delart.org/
or follow them on Instagram @delartmuseum.

Banner Image: Ziptych with Solid Cylinder Plus 3 Open Cylinders, 2017. Wes Memeger (born 1939).
Acrylic on shaped canvas with acrylic and Plexiglas, cylinders on board, 27 7/8 x 74 x 1 ½ inches.
Courtesy of the artist. © Wes Memeger

Amie Potsic

September 22, 2022

Art Watch Radio Podcast with Cynthia Haveson Veloric, Ph.D., on September 21, 2022

Amie Potsic

September 22, 2022

September 21, 2022

Amie Potsic interviews Cynthia Haveson Veloric, Ph.D., about the current group exhibition she curated, Risky Beauty: Aesthetics and Climate Change now on view at Main Line Art Center through October 28, 2022.

“Risky Beauty: Aesthetics and Climate Change showcases artwork in different media that draws in viewers with its sensual beauty and drama, while stimulating awareness and changing perceptions about climate outcomes. This exhibition challenges viewers to consider how their aesthetic experience of nature has changed in light of the scientific consensus about the validity of the climate crisis, the known societal forces that hasten environmental degradation, and the impact of climate change in their personal environments. Can the autonomist perspective of nature, which separates the inherent beauty and pleasure of nature from moral considerations, continue to have relevance in a disfigured and toxic world? The selected artwork frames landscape within the breakdown of ecosystems, over-developed land, loss of biodiversity, and extreme weather events. Each work reminds us of the precious quality and fragility of nature and how its existence (and ours) is threatened by human induced actions. ”

— Cynthia Haveson Veloric, Ph.D.

Installation view of *Risky Beauty: Aesthetics and Climate Change* with artwork by Amie Potsic at Main Line Art Center, 2022. © Amie Potsic

Dr. Cynthia Haveson Veloric is an independent curator, adjunct professor at University of the Arts, and environmentalist. She has worked in the curatorial departments of the Smithsonian American Art Museum, The Pennsylvania Academy of the Fine Arts, and the Philadelphia Museum of Art. She recently combined her passion for art and environmental advocacy by pursuing a PhD focused on international artists’ responses to the climate crisis. In 2018 she curated the exhibition Repairing Our Earth, Diane Burko Artist/Environmental Activist. She was enthused to serve on the art committee for the inaugural Pennsylvania Climate Convergence in Harrisburg in June 2022.

About the Exhibition

As the risks associated with climate change grow globally and locally, artists are exploring diverse methods to widen climate communications beyond the written word of scientists and journalists. Risky Beauty: Aesthetics and Climate Change, curated by Dr. Cynthia Haveson Veloric, will showcase artwork in different media that draws in viewers with its sensual beauty, while stimulating awareness and changing perceptions. The exhibition will challenge viewers to consider how their aesthetic experience of nature might change in light of the scientific consensus about the validity of the climate crisis, the known societal forces that hasten environmental degradation, and the impact of climate change in their personal environments.

Risky Beauty: Aesthetics and Climate Change is currently on view at Main Line Art Center through October 28, 2022.

Risky Beauty: Aesthetics and Climate Change

Presenting: Diane Burko, Stacy Levy, Deirdre Murphy,
Tim Portlock, Amie Potsic, and Hiro Sakaguchi

Exhibition dates:
September 6 – October 28, 2022 at Main Line Art Center

Click here to learn more about Risky Beauty: Aesthetics and Climate Change.

For more information on Main Line Art Center, visit: https://mainlineart.org/
or follow them on Instagram @MainLineArtCenter.

Amie Potsic

September 16, 2022

Art Watch Radio Podcast with Amie Potsic on September 7, 2022

Amie Potsic

September 16, 2022

September 7, 2022

Constance McBride interviews Amie Potsic about her exhibitions and lectures presented through the 2020 Photo Festival in Philadelphia this September.

“My work references the sensory experience of being within the forest while encouraging us to appreciate and preserve its future. Incarnate environmental explorations, my photographs, mixed media works, and installations invite you to connect with your own perception of nature in a manner that is both intimate and enchanting. I focus on the beautiful delicacy of the forest to share my sense of wonder and engender a connection to trees. Personal experience underscoring the urgency of climate change, I draw attention to deforestation by creating visceral and cerebral connections to trees.”

— Amie Potsic

Amie Potsic is an accomplished photographer and installation artist awarded for her experimental and poignant work. Exhibiting internationally, her work has been shown and published in Europe, South America, and the United States with a recent solo exhibition at The Delaware Contemporary Museum.
Her uniquely innovative approach to photography creates three-dimensional, immersive installations as well as exceptionally refined prints and mixed media works. Focusing attention on environmental issues and climate change, Potsic’s evocative work addresses cultural, personal, and natural phenomena through the lens of social responsibility.

About the Artist
Potsic has created artwork in her own backyard and the ends of the earth, from photographing religious rituals in India to wildfire devastation in Northern California. In over 20 solo shows and 100 group exhibitions, Potsic has exhibited her work internationally at the Art Park in Rhodes, Greece; The Royal College of London, England; Museo de Arte Moderno de Bogotá, Colombia; Medfoundart di Cagliari, Italy; the Museum of New Art in Detroit; The Woodmere Art Museum and The National Constitution Center Museum in Philadelphia; and The Delaware Contemporary Museum in Wilmington, DE. Her work was the topic of The Review Panel, presented by ArtCritical at the Pennsylvania Academy of the Fine Arts in 2015, and won Best in Show at the Delaware Contemporary Museum in New Eyes: Experimental Photography Today. Her work has been published in The San Francisco Chronicle, Root Quarterly, and the Philadelphia Inquirer and has been featured on NPR’s Delaware Public Media.

Amie Potsic received her MFA in Photography from the San Francisco Art Institute and BA’s in Photojournalism and English Literature from Indiana University where she graduated with Distinguished Honors and a member of Phi Beta Kappa honor society. She has held faculty appointments at the University of California at Berkeley and the San Francisco Art Institute and has been a guest lecturer at The International Center of Photography. Potsic is Host of the Art Watch Radio Show and Podcast on WCHE and is the CEO & Principal Curator of Amie Potsic Art Advisory, LLC.

AMIE POTSIC

To learn more about Amie Potsic’s upcoming exhibitions and events, visit: https://www.amiepotsicartadvisory.com/events and follow APAA on IG @apartadvisor.

Amie Potsic

June 9, 2022

Art Watch Radio Podcast with Maureen Drdak, Contemporary Artist, on June 8, 2022

Amie Potsic

June 9, 2022

© Maureen Drdak, *Ardens Mundi 1, Inferno,* 2017, Copper repoussé elements, mineral particle threads, and abraded acrylic on archival cradled wood panel, 48 x 1.5 inches.

June 8, 2022

Amie Potsic interviews artist Maureen Drdak about her Fulbright in Nepal and how the experience has affected her contemporary artwork.

“My work embodies an exploration of philosophical and cultural synthesis in which eastern and western material practices and cultural paradigms are meaningfully integrated; oppositional materials, divergent aesthetics, and symbolic language are explored and deployed in the service of transcultural bridging. Over the last decade my work has been deeply inspired by my travels in Asia—especially the Himalayas and Nepal—where I studied ancient metalworking practices with its finest living historic repose masters, the venerable descendants of Kuber Singh Shakya, a priestly family of five hundred year old celebrated lineage, decorated by the kings of Nepal. These dynamic mountain landscapes of the Himalayas are powerful metaphors for the universality of physical and cultural forces in opposition and integration, and my selection and application of materials are reflective of these protean energies in eternal congress.”

— Maureen Drdak

A graduate of the Pennsylvania Academy of the Fine Arts and the University of the Arts, Maureen Drdak is the recipient of the 2011 U.S. Fulbright Fellowship for Art in Nepal. She is the recipient of personal support from H. F. Lenfest and Eugene V. Thaw for Lung-Ta, an interdisciplinary collaborative with Philadelphia based international composer Andrea Clearfield. Her work is found in numerous public, private, museum, and university collections within the U.S. and abroad, among them the Berthe and John Ford Collection, Shelley and Donald Rubin Collection, Lynda and Stuart Resnick, and Emir Hamad Al Thani and Sheikha Mozah of Qatar. Drdak’s 2011 Fulbright Fellowship in Nepal pioneered and established the first material synthesis of repousse metalwork and contemporary painting. She studied with and continues to maintain a unique relationship with the grandsons of the famed historic repousse Master Kuber Singh Shakya; her teacher and colleague is Kuber Singh’s second grandson, Master Rabindra Shakya of Okubahal, Patan, Nepal. Her exhibition history includes national and international venues, arts festivals and museum and academic lecture venues by invitation. She has several published works to her credit, including international arts magazines and peer review journals. Drdak is recent past President of the Fellowship of the Pennsylvania Academy of the Fine Arts, and currently Advisor to the Board. Drdak is represented by Independent Art Consultants in the United States and Europe, and Asia.

MAUREEN DRDAK

© Maureen Drdak, *Ardens Mundi 2, Conflatura*, 2018, Copper repoussé elements, mineral particle threads, and abraded acrylic on archival cradled wood panel, 48 x 1.5 inches. Private Collection.

© Maureen Drdak, *Aeolus,* 2019, Copper repoussé elements, abraded acrylic and mineral particles on archival cradled wood tondo, 36 x 1.5 inches. Private Collection, Italy.

© Maureen Drdak, *Ardens Mundi 3, Dessico*, 2018, Copper repoussé elements, mineral particle threads, and abraded acrylic on archival cradled wood panel, 48 x 1.5 inches.

To learn more about Maureen Drdak, visit: www.maureendrdak.com or follow her on Instagram @m.drdak.

Amie Potsic

May 18, 2022

Art Watch Radio Podcast with Deborah Barkun, Ph.D. Creative Director, Berman Museum of Art on May 18, 2022

Amie Potsic

May 18, 2022

© Andrea Modica, *Scissors and Clamps*. Photo courtesy of Berman Museum of Art.

May 18, 2022

Amie Potsic interviews Deborah Barkun, Creative Director of the Berman Museum of Art and Director of Museum Studies and Associate Professor of Art History at Ursinus College, about her collaborative curatorial process and upcoming exhibitions.

Deborah Barkun is the Creative Director of the Berman Museum of Art and Director of Museum Studies and Associate Professor of Art History at Ursinus College. Barkun's teaching and research pursuits explore art and artistic practice as forms of social and intellectual discourse. She is passionate about sharing art with students and views it as significant to any undergraduate program. She received a B.F.A. in studio art from Carnegie Mellon University and an M.A. and Ph.D. from Bryn Mawr College. Her research has been supported by the American Council for Learned Societies, the Henry Luce Foundation, the Giles M. Whiting Foundation for the Humanities, and the Fales Library and Special Collections at New York University. She has presented work in national and international contexts, including Seoul, Milan, Venice, and New York, and served as Visiting Scholar in Residence at Lingnan University in Hong Kong.

ANDREA MODICA

Theatrum Equorum

On view from June 15 - November 15, 2022 at the Berman Museum of Art

© Andrea Modica, *Phantom 9*. Photo courtesy of Berman Museum of Art.

© Andrea Modica, *BELLA DONNA, Standardbred Trotter, Staphylectomy and Myectomy*. Photo courtesy of Berman Museum of Art.

© Andrea Modica, *CAESER, Fresian, Long Digital Extensor Tenectomy*. Photo courtesy of Berman Museum of Art.

CHRISTO & JEANNE-CLAUDE:
THE TOM GOLDEN COLLECTION

On view from June 15 - November 15, 2022 at the Berman Museum of Art

© Christo & Jeanne-Claude, *The Pont Neuf, Wrapped, Project for Paris*. Photo courtesy of Berman Museum of Art.

© Christo & Jeanne-Claude, *Surrounded Islands, Project for Biscayne Bay, Greater Miami, Florida 1980‐83*. Photo courtesy of Berman Museum of Art.

Both exhibitions are on view at the Berman Museum of Art from June 15 - November 15, 2022.

Click here to learn more about Christo & Jeanne-Claude: The Tom Golden Collection exhibition,
and click here for information on Andrea Modica’s exhibition, Theatrum Equorum.

For more information on the Berman Museum of Art, visit: https://www.ursinus.edu/berman/
or follow them on Instagram @BermanMuseum.

Amie Potsic

April 21, 2022

Art Watch Podcast with Andrea Appel and Christopher Brown, owners of The SPACE Art Gallery, on April 20

Amie Potsic

April 21, 2022

April 20, 2022

Amie Potsic interviews Andrea Appel and Christopher Brown, owners of The SPACE Art Gallery, a fine art photography and design gallery in Philadelphia, about their current exhibition by renowned photographer
Chuck Kelton.

© Chuck Kelton, *Moonrise on Golden Pond*, Unique chemigram and photogram. Signed on verso. Photo courtesy of The SPACE Art Gallery.

© Chuck Kelton, *Mountain Moonrise,* 19.75" x 23.75", Unique chemigram and photogram. Signed on verso. Photo courtesy of The SPACE Art Gallery.

© Chuck Kelton, *Blue Moon #5,* 19.75" x 23.75", Unique chemigram and photogram. Signed on verso. Photo courtesy of The SPACE Art Gallery.

About the exhibition
Using only traditional black and white photographic chemicals and traditional light-sensitive photographic paper, Kelton creates vivid landscapes that dance with movement. The result is a version of reality that evokes both chaos and stability and adds the additional comfort of this world having been Dipped In Gold.

Kelton's chemigrams and photograms are the continuations of a half-century of photographic explorations that started with his first camera click at the age of 13. Completing his MFA at Ohio University, in a program that focused not only on the development and creation of visual projects but an intensive study of the photographic materials themselves. Kelton was on a journey, not only to create his own works of art but to become a Master Printer in the commercial and artistic world of photographic printing. This selection of work has its foundations in his early visits to Bear Mountain, outside of New York City. It was there that Kelton first experimented by holding photographic paper against a tree and allowing the light to directly expose the paper. The result was a magical expression of negative space that blurred the reality of what was present and what is imagined.

Dipped in Gold is on view from April 1 – May 31, with an artist reception on Saturday, May 21, 2-6 PM.
For more information, visit: https://www.thespacephiladelphia.com/online-store-chuck-kelton

Amie Potsic Art Advisory is a promotional partner for this exhibition.

Amie Potsic

March 17, 2022

Art Watch Podcast with Samara Weaver on March 16, 2022

Amie Potsic

March 17, 2022

© Samara Weaver, Photo courtesy of the artist

March 16, 2022

Amie Potsic interviews artist Samara Weaver about her paper and ceramic artwork, which will be on view in upcoming exhibitions at the Delaware Contemporary and the University of Delaware.

“I have always been fascinated with materiality, resulting in my artistic exploration of various materials, and using them to explore texture, color, and perspective. I combine large numbers of smaller often simple elements into multi-faceted compositions, gaining complexity and space from their combination. My work often invites touch and asks the observer to explore it further with multiple senses. I immerse myself in the mediums I work with exploring their different properties, effects and methods of working with them. Currently, my focus has been on a process which I created developing colorful paper pieces, composed of layers upon layers of painted paper. For this process I do tests to select a palette of colors and then paint yards and yards of trace paper with watercolor paint, in large sections or a continuous strip. The final pieces are composed of tens to hundreds of linear feet of hand-painted paper which I crumple, fold and arrange into the final piece.”

— Samara Weaver

Photo credit: Joe Del Tufo, Moonloop Photo

Samara Weaver graduated with her Masters in Architecture in 2013 from Tyler School of Art and Architecture. After graduating Samara worked in Architecture and Construction while continuing to develop her unique artistic voice using multiple mediums. In 2017 she took the leap to work for herself and started Design Hues, focusing on artisan floral and specializing in large floral installations. In 2018 Weaver applied to the Juried Craft Show at The Delaware Art Museum and was accepted with a host of other talented artists. Showing her work at the museum was a pivotal turning point in her artistic career, supporting shifting her focus to her art full time. She was accepted in Spring 2020 for an art studio at the Delaware Contemporary art museum and has been working full time creating and selling her artwork, functional ceramics and porcelain jewelry. She also continues to look for opportunities to apply for fellowships, residencies and public art projects and was recently a finalist for the Haleakala National Park summer 2021 Artistic Residency.

For more information about the artist, visit: https://www.samaracweaver.com or follow her on Instagram @samaracweaver.

Amie Potsic

February 17, 2022

Art Watch Radio Podcast with Laura Turner Igoe, Chief Curator at the James A. Michener Museum on February 16, 2022

Amie Potsic

February 17, 2022

February 16, 2022

Amie Potsic interviews Laura Turner Igoe about her work at the Michener, her curatorial background and practice, and current and upcoming projects.

Laura Turner Igoe is Chief Curator at the James A. Michener Art Museum in Doylestown, Pennsylvania, where she oversees a collection of nearly 4,000 artworks with strengths in Pennsylvania Impressionist paintings, American studio craft, and modern and contemporary art from the Delaware Valley region. She previously held curatorial and research positions at the Philadelphia Museum of Art, Princeton University Art Museum, Harvard Art Museums, and the Barnes Foundation. She is the coeditor of A Greene Country Towne: Philadelphia’s Ecology in the Cultural Imagination and she has contributed essays to the journals American Art, Panorama, and Common-place, and the exhibition catalogue, Nature’s Nation: American Art and Environment. Laura received her Ph.D. from Temple University in 2014, and BA from Dickinson College in 2004.

At the Michener, she curated Impressionism to Modernism: The Lenfest Collection of American Art (2019), Rising Tides: Contemporary Art and the Ecology of Water (2020), and she co-curated Through the Lens: Modern Photography in the Delaware Valley (2021) and Daring Design: The Impact of Three Women on Wharton Esherick’s Craft (2021-22). She is currently advancing a 2022 initiative entitled, (re)Frame: Community Perspectives on the Michener’s Art Collection, which will feature new interpretations of the museum’s permanent collection from guest and community curators that interrogate central themes of identity and environment.

About the James A. Michener Art Museum

The James A. Michener Art Museum is dedicated to preserving, interpreting, and exhibiting the art and cultural heritage of the Delaware Valley region. Named for the late Pulitzer Prize-winning author and noted Bucks County resident James A. Michener, the independent, not-for-profit cultural institution promotes the work of nationally known regional artists past and present. For more information, visit: https://www.michenerartmuseum.org/

Installation view, *The Work of Art: Museum Collecting Unpacked,* Photo courtesy of The Michener Art Museum

Other Exhibitions at the Michener in 2022

The Work of Art: Museum Collecting Unpacked
January 29 – May 15, 2022

Stories of approximately 25 carefully selected objects from the Michener’s permanent and archival collections to explore the life cycle of a work of art, from its creation to museum acquisition. Including collection favorites and many recent acquisitions that have never been on view, the exhibited works illustrate the museum’s dedication to the diverse artistic community and history of the Delaware River Valley and offer insight into ongoing conversations about the future of museum collecting.

(re)Frame: Community Perspectives on the Michener Art Collection
June 18, 2022 – March 5, 2023

A three-step, year-long project designed to re-interpret the Michener’s permanent collection with
input from the wider regional community, including activists, Native American storytellers, external
historians, social workers, environmentalists, as well as general visitors to the museum, with a view to a
major reinstallation of the permanent collection galleries in 2023.

Walk This Way: Footwear from the Stuart Weitzman Collection of Historic Shoes
September 24, 2022 – January 15, 2023

With a focus on the women who designed, manufactured, sold, and collected footwear, Walk This Way presents the story of the shoe as it has never been told before. Featuring over 110 pieces from a collection assembled over several decades by the famous shoe designer, Stuart Weitzman, and his wife, businesswoman, and philanthropist Jane Gershon Weitzman, the exhibition ranges from a pair of satin wedding shoes worn in 1838 to a pair of glam-rock platform sandals from 1970s London. These unique artifacts allow Walk This Way to approach the story of the shoe from the perspectives of collection, consumption, production, design, and presentation.

For more information, visit their website or follow them on social media @michenerart.

Images featured: Banner image of The Michener Art Museum’s Putnam Smith Gallery, Photo Credit: Ananda Connolly Photography. Artwork image: Keith Haring: A Radiant Legacy, Image Courtesy of The Michener Art Museum.

Amie Potsic

January 21, 2022

Art Watch Radio Podcast with Mary Beth Carl on January 19, 2022

Amie Potsic

January 21, 2022

© Mary Beth Carl, In the studio, 2021. Image courtesy of the artist.

January 19, 2022

Amie Potsic interviews painter Mary Beth Carl about her current work based on the nostalgia of stereoscopic photography and the female gaze.

Mary Beth Carl is an oil painter and former ceramic sculptor based in Chester County, Pennsylvania. She discovered her passion for art in her late high school years and continued her practice at West Virginia University receiving a Bachelor of Fine Arts in Painting. As an emerging artist, commission-based work and experimenting with her artistic style have been a focal point in the years following her degree. Her paintings have been exhibited in a solo show at Phoenix Village, Phoenixville, PA, in the Rittenhouse Square Fine Art Show, Art Star boutique in Philadelphia and has been exhibited in the Philadelphia Flower Show.

Carl currently focuses on oil painting and is inspired by both the human figure and the process of layering imagery. Most of her painting processes are influenced by effects commonly found in photography, such as anaglyphs, double exposures, and long exposures. She is interested in translating these techniques into paintings and experimenting with the way overlapping images interact on the canvas and play with the viewer’s sense of focus.

For more information or acquisition, visit www.marybethartwork.com and follow her on Instagram @marybeth.art.

Artist Statement

My work explores color relationships and visual compositions inspired by stereoscopic photography. I’m interested in visual effects typically bound to a specific medium and translating them onto a canvas. While choosing female imagery and a seductive aesthetic, my primary focus is the creative process and how the colors, brushstrokes, and figures interact in the painting.

The eyes and familiar human form draw the viewer in, while the image’s multi-colored layers play and alternate the painting’s central focus. Instead of creating a specific focal point, the viewer’s attention sways back and forth from each defined figure. My work dances on the line of portraiture and illusion, generating truly alluring and unexpected pieces that inspire creativity and imagination through a feminine lens.

-Mary Beth Carl

© Mary Beth Carl, *Ten Billion Butterfly Sneezes,* Oil on Canvas, 40” x 30”, 2021

© Mary Beth Carl, *There You Were,* Oil on Canvas Board, 20” x 16”, 2020

© Mary Beth Carl, *Subconscious Desire,* Oil on Canvas, 30” x 28”, 2021

© Mary Beth Carl, *Anaglyph Portrait,* Oil on Canvas, 41” x 35”, 2019

© Mary Beth Carl, *Flower Moon,* Oil on Canvas Board, 20” x 16”, 2019

© Mary Beth Carl, *Help Me Help You,* Oil on Canvas, 48” x 36”, 2021

© Mary Beth Carl, *Meant For You,* Oil on Canvas Board, 20” x 16”, 2019

Amie Potsic

December 23, 2021

Art Watch Radio Podcast with Pia De Girolamo and Laurel Nevarte on December 22, 2021

Amie Potsic

December 23, 2021

© Laurel Nevarte, Image courtesy of the artist.

December 22, 2021

Amie Potsic interviews artists and medical professionals Pia De Girolamo and Laurel Nevarte on Art Watch Radio about their collaborative artwork inspired by the healing aspects of nature during the pandemic. Communicating via social media, their collaboration between the east and west coasts began with calming visits to the Huntington Gardens in Los Angeles and later inspired paintings created in Philadelphia. Their work is a testament to the ability of art and nature to help us connect and heal despite being isolated by the virus and distance.

Pia De Girolamo: Artist Statement

My modernist landscape paintings, whether presenting a natural or an urban landscape, project the essence of place which arises from interacting forms and color combinations.

In the case of the Roman and Italian urban landscape, these forms encompass a variety of geometric shapes, including apartment blocks, triangular roofs, and domes but there is also an interplay with natural forms like the iconic umbrella pines and other trees that line the street or are found in the parks.

In my mountain and Arctic series landscapes, massive forms of stone or ice, the surrounding emptiness, a sense of gravity, the fluidity of water, and the presence of animal inhabitants dictate how I use color and shape.

I begin with sketches, small paintings and photographs in the field. I bring these materials back to the studio, where I explore what makes these places beautiful, mysterious, or exciting to me . The paintings evolve; while some refer to real places, others spring from composite memories of shapes or vistas.

I began my most recent botanical series during the travel ban of the Covid 19 pandemic. Though based on a friend’s photograph posted to Instagram, it is the same interplay of shapes and color and an underlying sense of deep emotion that I experience in the presence of nature that drew me to reinterpret the floral specimens on canvas.

Laurel Nevarte: Artist Statement

Art and life
I have always been compelled to surround myself with beautiful handmade objects. Ours was a household where gifts and cards were not purchased but created. With depression-era parents, everything was recycled, so that scraps of paper, pressed flowers, shells, fabric, magazines, buttons, ribbons, gum wrappers, and even salvaged cotton balls were all fodder for assemblage. My maternal grandfather's poetry-filled; hand-painted flower cards are treasured family heirlooms. Grade school shoebox dioramas were a joy to stage with my mom (a Pratt Art school grad). Hours were spent watching my father carve and cast waxed dental restorations fabricated with unimaginable precision.

With the misguided idea that I would embrace a practical yet artistic endeavor, I also chose a career in dentistry. To balance life as a young professional and mom, I fashioned projects to enhance our surroundings and felt compelled to sew window curtains, pillow covers, and baby bedding. I would dress doorways with silk flower wreaths and cut matte frames displaying travel photos and thrift market vintage postcards. Ultimately, I managed to launch an online beaded jewelry shop Bead after dark jewelry to fill the painful void felt once my college-bound son left home.

Cultivating my garden
My husband and I are wholly invested in tending to our drought-tolerant garden landscape and enjoy weekly nature walks and nursery visits as an extension of this pastime. The camera has become a natural means to chronicle plant growth to share with East Coast family and friends and to catalogue a wish list for inspiration. Photography never had much of an appeal for me as the equipment was cumbersome and the dynamics of using an SLR camera proved too disappointing. After a mishap where improperly loaded film failed to capture a fresh snowfall, I literally never touched the camera again.

My father chronicled our family history as his prized polaroid instamatic camera accompanied all holiday events and gatherings. He alone would adjust the bellows, flash the image, then slowly peel back the film exposing the capture to light. I can still smell the emulsion and sense the buzz of excitement as we huddled around to watch the photo magically emerge. So not until recently has technology advanced to the point where my iPhone allows for that instant gratification minus the unwieldy armamentarium. Fortunately, the use of the camera is wholly intuitive for me and image refinement is a welcome and ongoing obsession.

Cultivating my garden is a natural anesthetic for the distressing isolation of this pandemic. The strain of routine viral exposure and the restrictive suffocating protective gear has taken a toll on my psyche. Our weekly pilgrimage to the world-renowned Huntington gardens with its charismatic and often anthropomorphic exotic cacti and perennials is now my salvation. Weekly nature walks and photos are the antidote to fear and depression, and the satisfaction of manipulating and clarifying an artistic vision gives a measure of control missing from my daily existence.

What started as a way to record a garden's growth has become a window to the outer world. I was pleasantly surprised to find an audience and following for my photography on Instagram and have most happily reconnected with my childhood friend and artist Pia De Girolamo. A former physician, Pia was inspired by my posts to collaborate and paint lovely and unique abstractions of my flowers and plants.

Without the hassle of having to establish and maintain a messy workspace this has been the most satisfying outlet ever. Creativity at its best gifts a Zen experience with a welcome lack of awareness for the passage of time and witnessing the beauty and resilience of nature gives me the perspective and enthusiasm to brave life's ongoing challenges.

© Pia De Girolamo, Image courtesy of the artist.

Amie Potsic

November 17, 2021

Art Watch Radio Podcast with Laura Domencic, Executive Director of the Erie Art Museum of November 17, 2021

Amie Potsic

November 17, 2021

Béatrice Lebreton, Installation image of "Living Her Truth: Transcending Boundaries", photo courtesy of the Erie Art Museum

November 17, 2021

Amie Potsic interviews Laura Domencic, Executive Director of the Erie Art Museum about her recent appointment to the Museum and her own artistic practice.

Laura Domencic is an artist, curator, writer and educator based in Erie, PA. She is the Executive Director of the Erie Art Museum and a lead partner and curator with The Documentary Works, a group that produces photo documentary exhibits on social and environmental justice. Before her recent appointment to the Museum, she has worked as an independent arts consultant leading successful fundraising efforts for a variety of institutional and individual clients. For the past three years, she has also directed an artist residency program in Ambialet, France. Previously, Domencic served for 11 years as Director of the Pittsburgh Center for the Arts (PCA). She managed operations of the PCA campus in Mellon Park, developing, curating and shepherding a full calendar of exhibitions and building community arts programming.

Domencic received her MFA from Lesley University in Cambridge, MA, and her BFA from Carnegie Mellon University in Pittsburgh. She is currently an adjunct professor at Gannon University. She recently organized and exhibited An Unpredictable Time & Place at MassMOCA in North Adams, MA as part of her group thesis exhibition. She will be exhibiting in the A.P. E. Gallery's Flat File program in Northampton, MA in 2022. To learn more visit: https://www.lauradomencic.com/

Installation image of "SORROW/FULLNESS", photo courtesy of the Erie Art Museum

John Eric Steiner, Installation image of "Future Memories", photo courtesy of the Erie Art Museum

John Eric Steiner, installation image of *Girl on a Swing*, photo courtesy of the Erie Art Museum

About the Erie Art Museum

Located in Erie, Pennsylvania, the Erie Art Museum holds the region’s leading art collection with more than 8,000 objects spanning American ceramics, paintings, sculpture, and photography. The museum regularly hosts special exhibits bringing art and inspiration to the community. It also hosts lectures, educational programs and provides artists’ services including interdisciplinary and interactive school tours. For more information, visit: https://erieartmuseum.org/

Amie Potsic

November 12, 2021

Art Watch Radio Podcast with Constance McBride on November 10, 2021

Amie Potsic

November 12, 2021

Constance McBride, *Lonely Girl Room 3400*, Ceramic, Image courtesy of the artist

November 10, 2021

Amie Potsic interviews Constance McBride about her upcoming exhibition, The Lonely Girls, opening on Nov. 12 at Tubbs Gallery, Rehoboth Beach Arts League.

“I have long been intrigued by how rapid change impacts the human condition and use the body as a site for exploring it. In this series, a gendered issue of dementia is engaged from a female point of view. My mother’s countenance emerges through representation in multiples, mentally and physically aging over time.

The Lonely Girls project began after my mother was diagnosed with Alzheimer’s disease and lived out her last years in a nursing home, between two worlds. What started as a portrait of her became a collection of portraits of the women she lived with. Their spouses, partners, and friends were long gone and their children were really not equipped to take care of them. Once vibrant and accomplished women were reduced to mere shells of their former selves. Their bodies were still functioning but their minds couldn’t keep up. They were depressed and frustrated a lot of the time but in between, I saw glimpses of great joy in simple experiences like gazing at the moon or gleefully eating ice cream.

The clay busts are hand-built, sculpted, and fired. Surface treatments include underglazes, oxides, stains, and wax. Baling wire was fired with the busts, other miscellaneous electrical wires were added post-firing. So much goes on physically, mentally, socially, and psychologically that warrants more attention. By sharing this project with a wider audience, I hope to continue raising awareness.” -Constance McBride

The Lonely Girls exhibition is on view from Nov. 12 - Dec. 12, 2021, at Tubbs Gallery
Opening reception: Friday, Nov. 12 from 5-7 pm
Gallery Talk: Saturday, Nov. 13 at 10 am
For more information, visit: https://www.rehobothartleague.org/exhibitions/current/lonely-girls/

Constance McBride, *Lonely Girl Room 4732*, Ceramic, Image courtesy of the artist

Constance McBride, *Lonely Girl Room 4732* (detail), Ceramic, Image courtesy of the artist

Constance McBride's work addresses the human condition in relation to nature. When residing in the Southwest, observations of the desert made a transformative impact on her practice. Exploring themes of identity and memory, the emphasis is placed on issues most experienced by women. Her work has been supported by grants from the Arizona Commission on the Arts, Phoenix Art Museum's Contemporary Forum, Philadelphia Sculptors, and the COVID-19 Arts Aid PHL program. Museum exhibitions include Phoenix Art Museum and Udinotti Museum of Figurative Art in AZ, Las Cruces Museum of Art in NM, San Angelo Museum of Art in TX, The State Museum of Pennsylvania, and Biggs Museum of American Art in DE. Notable gallery exhibitions include Craft Forms at Wayne Art Center and The Clay Studio National in PA, America's ClayFest International at Blue Line Arts in CA, and Beyond the Brickyard at Archie Bray Foundation for the Ceramic Arts in MT. McBride's work has received attention from several publications including Yahoo News, Visual Art Source, Philly Artblog, Philadelphia Stories, Schuylkill Valley Journal, and the international platform Ceramics Now. Now living and working in Chester County, PA, she is actively involved with art communities in the Delaware Valley. McBride earned a Bachelor of Arts degree from Arcadia University, Glenside, PA.

For more information on Constance McBride, visit: https://www.constancemcbride.com/

Amie Potsic

October 27, 2021

Art Watch Radio Podcast with Jill Abbott and Diana Bittel on October 27, 2021

Amie Potsic

October 27, 2021

October 27, 2021

Amie Potsic interviews Winterthur's Associate Director of Special Events Jill Abbott and Art & Antiques Dealer Diana Bittel on the upcoming Annual Delaware Antiques Show, presented by the Winterthur Museum, Garden & Library. This is the 58th annual show with this year being the first in-person version since COVID. Held November 5 -7, 2021, the show brings together fine art and antiques for one weekend of offerings to its guests at the Chase Center on the Riverfront.

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For 24 years, Jill Abbott has run a number of large scale events at Winterthur Museum, Garden & Library, and is the Race Director of their largest annual fundraiser, the Winterthur Race. Before Winterthur, she was a Staff Assistant for Governor Michael N. Castle and United States Senator William V. Roth, Jr. while receiving her Masters of Public Administration from the Fels School of Government at the University of Pennsylvania. She later became Chief Deputy in New Castle County and worked in the private sector. Her articles and appearances include: The Today Show, The New York Times, USA Today, The Guardian (UK), and Delaware Today.

Diana Bittel is an Arts & Antiques Dealer based in Bryn Mawr, Pennsylvania and she is the manager of the 58th Annual Delaware Antiques Show. She’s passionate about Antiques and has worked with them her entire life. She grew up with parents who collected with weekends spent in the car, visiting dealers and enjoying the Pennsylvania countryside where there were so many shops. After college, she moved to New York where she worked at Sotheby’s in their Renaissance Works of Art or Art Nouveau Departments. Returning to her love of American art, furniture, and collectibles, she became a dealer and has presented at major Antiques shows across the country ever since.

Image courtesy of the Winterthur Museum, Garden & Library

About the Winterthur Museum, Garden & Library
Winterthur is the premier museum of American decorative arts, with an unparalleled collection of nearly 90,000 objects made or used in America since 1640. This Annual Delaware Antiques Show, presented by the Winterthur Museum, Garden & Library, is the 58th annual show with this year being the first in-person version since COVID. Held November 5 -7, 2021, the show brings together fine art and antiques for one weekend of offerings to its guests at the Chase Center on the Riverfront. To learn more, visit: https://www.winterthur.org/calendar/58th-annual-delaware-antiques-show/2021-11-05/

Amie Potsic

October 20, 2021

Art Watch Radio with Nancy Agati on October 20, 2021

Amie Potsic

October 20, 2021

Nancy Agati and Rebecca Schultz, *WATER TABLE,* Site-specific art installation, Gravel, stone, shell, sand, sea glass, recycled glass, and mulch, 16' x 12' x 6", 2021. Image courtesy of the artists.

October 20, 2021

Amie Potsic interviews environmental artist Nancy Agati about her new public art installation in Atlantic City, solo show at No. 5 Butchie Alley in Philadelphia, and current exhibition Celebration of Trees.

Nancy Agati is a Philadelphia artist who works in multiple disciplines. Agati holds a BFA from Alfred University, School of Art & Design, NY, and an MFA from The University of the Arts, Philadelphia. She has exhibited her work throughout Philadelphia and nationally including exhibitions at The Independence Seaport Museum, Philadelphia, Philadelphia Art Alliance, Hillyer Art Space, Washington, DC, Newhouse Center for Contemporary Art, Staten Island, NY, The Calandra Italian American Institute, NY, and at Art in the Open, Philadelphia.

Her most recent installation project, Water Table, was just completed in August 2021. The permeable surface ground installation at the Absecon Lighthouse in Atlantic City was created in partnership with artist Rebecca Schultz, the Atlantic City Arts Foundation, and the New Jersey Department of Environmental Protection for the New Jersey Coastal Climate Resilience Project. 2019 projects include Evident Cycle a floating spiral sculpture commissioned for the FLOW exhibit at the Independent Seaport Museum and Crated and Shipped an installation made from infested Ashwood for the We All Fall Down exhibition at The Schuylkill Center for Environmental Education. Agati has been a recipient of a Windows of Opportunity Award from the Leeway Foundation and has been awarded artist residencies at the Santa Fe Art Institute, New Mexico, Lo Studio dei Nipoti, Calabria, Italy, and Main & Station, Nova Scotia. A Tending Space Fellowship from the Hemera Foundation initiated Agati’s ongoing exploration of the intersection of mindfulness meditation as it relates to her art-making process.

Nancy Agati, *WATER TABLE* process image, Site-specific Art Installation, Gravel, stone, shell, sand, sea glass, recycled glass, and mulch, 16' x 12' x 6", 2021. Image courtesy of the artist.

Nancy Agati, *Francesca 3*, Mixed media on paper, 29.75”x 30”, 2019

Statement
”My work begins with an examination of visual relationships and transformations found in nature. Influences include objects in nature that reveal a sense of order, elegance, and geometry. I utilize natural forms such as patterns of moving water and flow-like organic structures to describe or define visual systems that reference our human connection to nature. My work, which often straddles a line between drawing and sculpture, fluctuates from visual explorations that present beauty and order to projects that reveal decay, chaos, or endangerment to the natural world. I have developed site-specific installations and temporal sculptures that respond directly to place, time, and visual perception. Several projects have incorporated aspects of meditation, viewer interaction, and public participation. “ -Nancy Agati

To learn more about Nancy Agati’s work, visit: https://www.nancyagati.com/

Amie Potsic

September 22, 2021

Art Watch Radio Podcast with Amie Potsic on September 22, 2021

Amie Potsic

September 22, 2021

September 22, 2021

Amie Potsic is interviewed by Rhoda Kahler about her photographic installations and how they focus on climate change and environmentalism as well as her current exhibitions at Wiota Street Garden and Penn State Great Valley.

A Quiet Light features work by Amie Potsic, Laurence Salzmann, John Singletary, Oscar Tabares, Harris Fogel, and Milton Lindsay, and is a photographic exhibition presented by Salzmann’s Photo West Gallery in coordination with Philadelphia’s 20/20 Photography Festival. The exhibition takes place in West Philadelphia’s beautiful Wiota St. Garden, and work will be displayed within the natural beauty of this unique and inviting environment. The exhibition is on view from September 19 - 26, 2021 at Wiota Street Garden (the intersection of Powelton Avenue and Wiota Street, Philadelphia, PA 19104).

Gallery Walk & Tour with 20/20 Festival:
Sunday, September 26, 11 am

Photo Parties in the Garden:
Sunday, September 26, 2 - 6 pm

For more information on the 20/20 Photo Festival, visit: https://www.2020photofestival.org/satellite-shows

Amie Potsic is an accomplished photographer and installation artist awarded for her experimental and poignant work. Exhibiting internationally, her work has been shown and published in Europe, South America, and the United States with a recent solo exhibition at The Delaware Contemporary Museum. Her uniquely innovative approach to photography creates three-dimensional, immersive installations as well as exceptionally refined prints and mixed media works. Focusing attention on environmental issues and climate change, Potsic’s evocative work addresses cultural, personal, and natural phenomena through the lens of social responsibility.

For more information, visit: http://amiepotsic.com/

Amie Potsic

August 4, 2021

Art Watch Radio Podcast with Bruce Katsiff on August 4, 2021

Amie Potsic

August 4, 2021

© Bruce Katsiff, Pieces of a Life, 2013, platinum/palladium print, 12 x 20 inches. Collection of the Michener Art Museum. — © Bruce Katsiff, *Pieces of a Life*, 2013, platinum/palladium print, 12 x 20 inches. Collection of the Michener Art Museum.

August 4, 2021

Amie Potsic interviews Bruce Katsiff about his latest body of work Nature Morte, his works in the exhibition, Through the Lens currently on view at the Michener Art Museum, and his involvement within the art community.

Bruce Katsiff studied photography at the Rochester Institute of Technology and completed graduate work at Pratt Institute in New York City, earning BFA and MFA degrees. He attended postgraduate studies at Oxford University. His work has been exhibited in museums and galleries including the Museum of Modern Art in New York, the Philadelphia Museum of Art, and the Pennsylvania Academy of Fine Art. For 25 years he taught photography and from 1989-2012, he served as Director/CEO of the James A. Michener Art Museum.

For more information, visit: https://www.brucekatsiff.com/

© Bruce Katsiff, The Golden Section, 12 x 20 inches, 1987 - 2012 — © Bruce Katsiff, *The Golden Section*, 12 x 20 inches, 1987 - 2012

© Bruce Katsiff, Flying Totem, 20 x 12 inches, 1990 - 2012 — © Bruce Katsiff, *Flying Totem*, 20 x 12 inches, 1990 - 2012

© Bruce Katsiff, Frozen Flight, 12 x 20 inches, 1989 — © Bruce Katsiff, *Frozen Flight,* 12 x 20 inches, 1989

© Bruce Katsiff, The Sleep Of Peace, 16 x 20 inches, 1983 - 2012 — © Bruce Katsiff, *The Sleep Of Peace*, 16 x 20 inches, 1983 - 2012

© Bruce Katsiff, Balacong Life — © Bruce Katsiff, *Balacong Life*

Amie Potsic

May 12, 2021

Art Watch Radio Podcast with John Singletary on May 12, 2021

Amie Potsic

May 12, 2021

John Singletary, Clarise, 8’ x 8’ OLED Installation, 60” x 60” — John Singletary, *Clarise,* 8’ x 8’ OLED Installation, 60” x 60”

May 12, 2021

John Singletary is a photographer and multimedia artist based in Philadelphia, PA. He received a Bachelor of Fine Arts in Photography from The University of the Arts. His work has been collected by the Philadelphia Museum of Art and The Center for Fine Art Photography as well as other institutional and private collections. He has exhibited at the Pennsylvania State Museum, LG Tripp Gallery, James Oliver Gallery, The Sol Mednick Gallery and The Delaware Contemporary. His work has been published in Lenscratch Magazine, L’Oeil de la Photographie, the Od Review, Root Quarterly, and the Philadelphia Inquirer. Singletary's work was recently featured on WHYY TV's Movers and Makers. Additionally, he is a contributing writer for The Photo Review Journal. For more information, visit: https://www.johnsingletaryimaging.com/

Installation View, Images displayed on arrays of Organic LED Light Emitting Panels, The Delaware Contemporary, Wilmington DE. Photo Credit: Rick Wright/John Singletary

John Singletary, Providence (right detail), 3’ x 30’ OLED Installation, Pigment Print 24” x 18’ — John Singletary, *Providence (right detail),* 3’ x 30’ OLED Installation, Pigment Print 24” x 18’

John Singletary, The Dance of Hades, 5 ’x 3’ OLED Installation, Pigment Print 34” x 44” — John Singletary, *The Dance of Hades,* 5 ’x 3’ OLED Installation, Pigment Print 34” x 44”

John Singletary, Dryads, 5’ x 3’ OLED Installation, Pigment Print 24” x 42” — John Singletary, *Dryads*, 5’ x 3’ OLED Installation, Pigment Print 24” x 42”

Amie Potsic

April 14, 2021

Art Watch Radio Podcast with Tim Portlock on April 14, 2021

Amie Potsic

April 14, 2021

April 14, 2021

Originally trained as a muralist, Tim Portlock began experimenting with digital media platforms in the late '90s. He has since mastered a variety of tools, from gaming software to 3-D animation, and he has used them to make art that investigates the social and economic impact of America's rapid de-industrialization. A former professor at Hunter College in New York, Portlock is now a Professor at Washington University in St. Louis. His work has been shown around the world, including solo and group exhibitions at the Tate Modern, London; Los Angeles Center for Digital Art; the Ars Electronica Museum, Linz, Austria; and the Museum of Contemporary Art, Chicago, IL. Portlock is a Pew Fellow and is represented by Locks Gallery in Philadelphia. He has no fewer than three shows on view this spring in Philadelphia so there are many opportunities to see his work. He has a solo show on view at Locks Gallery and is featured in “Through the Lens: Modern Photography in the Delaware Valley” at the Michener Museum and in “New Grit: Art & Philly Now" at the Philadelphia Museum of Art.
For more information, visit: http://www.timportlock.net/

© Tim Portlock, "Just Steps Away", Archival pigment print, 43.25 x 58 inches, 2020

© Tim Portlock, "Unrivaled proportions", Archival pigment print, 43.25 x 64.25 inches, 2020

© Tim Portlock, "Sculpture Garden", Archival pigment print, 2020

© Tim Portlock, "Sundrenched", Archival pigment print, 58 x 43.25 inches, 2020

Arlene Love

Wes Memeger: The Square and Other Concerns

Risky Beauty: Aesthetics and Climate Change

AMIE POTSIC

MAUREEN DRDAK

Theatrum Equorum

CHRISTO & JEANNE-CLAUDE: THE TOM GOLDEN COLLECTION

CHRISTO & JEANNE-CLAUDE:
THE TOM GOLDEN COLLECTION