Sarah McEneaney, an artist-in-residence at the Philadelphia Academy of the Fine Arts’s (PAFA) Brodsky Center, cast her handmade paper sculpture “Mango Mango” (2021) from a matrix she created of her dog, Mango. Each unique edition, of which there are 10, is made with individual cotton pulp paintings in varying pigmented compositions. Hues inspired by the colors of fruit transform the detailed 1:1 scale rendition into a figure that is suspended and yet seemingly alert.
Liz Collins, another of this year’s Brodsky Center residents, completed her work “Genesis” (2021) in handmade cotton paper and rayon. “Genesis” recreates the artist’s first concept for her recurring jagged and fringed textile manipulations. She wove flat and seed yarns into handmade cotton pulp, cutting them after to release a gravitational drip over and beyond the paper support.
At the online Editions/Artists’ Books Fair this October, collectors can further browse a rich selection of work by the Brodsky Center’s artists-in-residence from the last 30 years. Prints by Emma Amos, Sonia Boyce, Joan Snyder, and Melanie Yazzie, among others, are available.
For more information, visit the E/AB Fair website.
Meanwhile, in Philadelphia, the exhibition Out of Body is on view in the Hamilton Building at the Pennsylvania Academy of the Fine Arts (PAFA) until January 2, 2022. Selected from the Brodsky Center’s inventory of over 650 editions, it features complete portfolios by Chitra Ganesh, Trenton Doyle Hancock, and Sharon Hayes; prints by Jonathan Lyndon Chase, Faith Ringgold, Joan Semmel, Carrie Mae Weems, and Didier William; and sculptures by Lynda Benglis. The exhibition asks viewers to contextualize perceptions of their bodies and re-think ingrained archetypes and expectations around the human form. It is shown in conjunction with PAFA’s survey exhibition Joan Semmel: Skin in the Game, opening on November 3, 2021.
Devoted to empowering artists’ influential and diverse visions, the Brodsky Center is open by appointment to the public during business hours. Information on available editions for sale can also be found at the Brodsky Center website.
To learn more, visit brodskycenter.com.
Cammie Tipton-Amini’s opinion piece “When Ukraine Was Newly Independent and Everything Was Possible” employs simplistic whataboutism that dangerously echoes Putin’s lies.
Anthony Banua-Simon’s documentary Cane Fire contrasts decades of Hollywood images of his home with its current reality.
Now on view in Pasadena, this exhibition explores how four artists challenged the limitations of gestural abstraction by exploiting the resonance of figural forms.
Michelle Segre’s art is truer to the actual world we live in than to the ideal one proposed and refined by the art world and its institutions.
The school’s 2022 cohort was encouraged to fail, get messy, and try new things.
Northwestern’s Block Museum of Art Presents A Site of Struggle: American Art against Anti-Black Violence
This new exhibition in Evanston, Illinois considers how art has been used to protest, process, mourn, and memorialize anti-Black violence for more than a century.
Protesters held signs that read “If men got pregnant, you could get an abortion at an ATM” and “Abolish SCOTUS, Not Abortions!”
Define American has named the fourth cohort of its annual fellowship, which gives grants and career development opportunities to five artists.
Guest curated by Alison Burstein, An Asterism* at the school’s Kellen Gallery in NYC features the work of 15 multidisciplinary artists, on view from May 16 through May 27.
The site of Michelangelo’s famous frescoes has a strict no-photos policy.
Her short film Freshwater is now playing at the Museum of Contemporary Art Detroit.
In the artist’s new exhibition, Black moves away from her signature representation of commercial goods to celebrating the labors behind everyday life.